Beginner Violin Course - Learn Violin From Scratch - Music Education

1. Beginner Violin Course: Have you always wanted to play the violin? Whenever knew where to get started. Hi, my name is Sharon, and this is my violin course. As an instructor myself, I've seen firsthand what most students struggle with while learning the violin. They only get to see me once a week. That will have access to my instructions after the class. And they don't get to ask me any questions when they're practicing at home. And above all else, they have to spend a fortune to keep getting lessons week after week after week. Well, I wanted to eliminate all of those struggles and I wanted to do so. Putting together the most comprehensive, in-depth and be most thorough violin course available online. In this game changing course, I walk you through all the foundational material that you need to know as a violin player. We start all the way from the basics and gradually work our way to the more complicated techniques. So there's no prior experience required whatsoever. The course is packed with over 13 hours of in-depth tutorials, including theory breakdowns, techniques, and exercises. By the end of our time together, you will be able to pursue the heck out of anyone know what your bio, the mastery. So if you all and reads off like beautiful songs on your violin and the what are you waiting for? Sign up for the course. And I will make a violin player out of you. 2. What We Cover In This Course...: Welcome you guys. Welcomes the violin course. I'm so excited to have you guys here and we're going to learn so much together. I just wanted to take a second and kind of let you guys know what is coming up in the course. So you kind of have a good idea of the path that we're going to take throughout this course. We're going to start with the very basics. Because with this course it was very important for us to make sure that there is something for everyone here. So if you're someone who has never hold the violin before in your life, or maybe you don't know the first thing about music that I just wanted to reassure you that you have nothing to worry about. Because we start with the very basics of how to hold the violin, how to put the bow, how to read music, and all of that stuff has to tune the violin, everything, right? So all the basic stuff that you need is covered in this course. So that no matter where you are, even if you're super beginner, you have nothing. You've never heard of island before in your life, you don't know anything about music. You're still able to follow along with us. And if you're someone who has played the violin before, let's say maybe were played when you were younger, or you just play it for a little while, then it's a good idea to watch those videos anyways, because we want to make sure we're doing everything properly. And then we get into the more complicated stuff as well. So in about the first third of the course is the more basic stuff and making sure we have a nice foundation for moving forward. And then after that we're going to the more complicated some like songs. We start playing scales, arpeggios. And we discussed what all that means as well. And we're sort of learning a lot of techniques like staccato, legato, pizzicato, vibrato, and a whole lot more than Bach's. We covered a lot of stuff. And we also talked about music theory and stuff like that as well. So there's a lot that we cover here basically is what I'm trying to say. And we cover lunder for songs. We start with very simple songs like Toyota and will notice R is actually the first time that we do together in this course. And we gradually do little more complicated songs as we go along in the course until our last song is actually kind of an intermediate level, a sound for a violin player. So we basically want to make sure we take you by the hand and walk you step-by-step through every single step of the process from the very beginning, all the way to kind of an intermediate level to make sure that you're able to follow along nice and easy with us as well. So I'm so excited for you guys to check it out for yourself. I'm not going to hold you up for anywhere along in that. Go ahead and check out the course. And I hope you enjoy. 3. Checklist of the Required Material - Beginner Violin: Alright, I just wanted to take a second and check with you guys to see if we have everything that we need for this course. Alright, so this is going to be kind of a checklist, kind of a video where we just run through all the stuff that we need and just check to make sure we have. So we're gonna start with the obvious. We need a violin for this course. Now, some of you might already have your island and that's great. You can just use that. If you don't already have your violin and you're looking to either renting or buying one. There is a bonus lecture at the very end of this course, where I go very deep into what kinds of violins you might be looking into buying or specific brands, specific instruments they can pick up, or even if you're renting, there is a law that we talked about. So if you don't already have violin, I recommend you go to the very end of this course and check that bonus lecture out. And I've just come back here and keep going. Okay, so do that if you don't already have one, if you already haven't. Violin. Next is the bow. Same thing. There is many options for getting one. Hopefully you already have one. If you have a violin, if not, again, if you just go to the bonus lecture where we talk about what bows are a good investment and what the differences are. But if you already have one, that's totally cool. Moving on, we have some other stuff. We have shoulder rests and that's something else that we need. And not every file encounters with the short shoulder rest. So if you might not have one of these, even if you haven't already. It's again, a really good idea to pick one of these up and just helps you out a lot when you're playing. And again, if you're looking for specific recommendations, all the recommendations are in the bonus lecture. And each I just point you towards what kinds of brands and what kinds of shoulder rests are good investments for you? We need rosin. And again, most violins come with a rosin, but some don't. And if yours doesn't have one already, Rozin has something that looks kinda like this. It's a chemical that we need to put on the bull before every time we play the violin. That's basically what rosin is. And we delve deeper into how we use our eyes and everything in the future videos. But this is basically what we need. Okay, so if you don't already have one of those, make sure you pick one of those up. And last but not least, we need one of these cloths. Alright, so I just took these for my sunglasses, but you can just take any piece of cloth. And what we use this for is for cleaning the finally, alright, so usually what happens is that when you play the violin, it picks up some dust. And you can just take one of these and just clean the strings all the way over here. And then you just take it right underneath the strings and just kinda clean it up. Alright, so, so usually a good idea to have one of these and just clean your violin every once in a while because it just, they said look nicer and it just keeps it in good condition so it doesn't need damage then everything right. Yeah. You don't have to make it shine or anything, but as long as it's not too dirty, it's just a good idea to have one of these around. Alright, before we move on, there's one last thing that we need, and that is we need an app on our phone that helps us tune the violin, right? So these are called tuner apps. And again, I have some recommendations on these. There is a link to a couple of apps for both Android and iOS on the bonus lecture. So if you need any specific help, you can just go there. But if you already have a tuner app or you have a tumor from another instrument, that's totally fine too. Use that as well. And basically we'll use that for is we played a note on the violin and we just check with a tuner app to see if we are close to the actual tone or if you're too far away from it. And if we need to adjust our two and okay, so again, we delve deeper into how to use a tuna in an upcoming video. But for now, let's just make sure that we have it ok. So if you don't have it, physical tuner makes you only have one installed on your phone. And if you need any recommendations, Go to the bonus lecture. Alright, so that's all the stuff that we need. Hopefully you have everything by now. If not, go ahead and pick him up. And I'll see you in the next lecture. 4. The Many Parts of the Violin - Beginner Violin: Hi and welcome to your first lesson in how to play the violin. I want to take a second and congratulate you on taking your very first step in your violent career. Now, in this lesson, we're going to learn the very basics of what each part of the violin and what each part of the book is called. Now why is it so important that we learn these material? The reason why is because as we move forward and as we start learning how to play specific pieces and how each technique works, we need to be able to communicate which part of the violin and which part of the bow we're using for each of these techniques. So it's really important that we establish a foundation of what each part is called and what each part is used for. So that moving forward, we kinda have a big picture idea of what's going on. And also we're able to communicate with each other which parts of the violent, which personable we need to control in which ways? So let's start with the very basics of the violin. Obviously you have the chin rest right here, which is where our channels, we have the bridge in the middle. This is very important piece in alignment. And one thing to note about the bridges that if you're not careful with it, it could come up. Okay, so it's not a static piece. And the violin, I mean, it's pretty secure, like unless you actually Bangor hannah, Yes, there is ongoing. It shouldn't come off. But you need to be gentle with this piece, okay? You don't want to put too much pressure on it, which is why you should probably always store your violin in the case and not just leave a line around because there are too many pieces that could come off upon any kind of collision, right? So the bridges and very delicate piece. So make sure you're protected assumption. Over here we have the fingerboard, which is where our left hand fingers go in order to create new notes. This big black thing right here. Of course we have the fine tuners down here, which are used for tunic, but only for fine tuning. So this is only used if we're pretty close to the tune that we're looking for by each of these strings. But we just need to adjust it a little bit. Alright, and so for example, let's say you're tuning this stream, right? The string at the very left. And you see in your tuner device, which we're gonna talk about in depth shortly. But let's just assume that, you know, it's pretty close to the tune that it should be. It's just slightly off, right? That's when you use the fine tuners. But what if it's miles off between layer looking for what do you do that? Well, we have the tuners up here. We also call these the pegs. These are used for tuning specifically when each of these springs is really ways off where it's supposed to be, right? So let's say you're playing a string and it just sounds horrible. You know, it's miles off what it should be. That's when you use the pegs and you can see how each pay aligns with each of these strings. You can just take a look right here and just follow the strings to see which pay they're associated with. And anytime you need to use them for any of these streams, you know which one to use Exactly. Okay? Again, will go much more in depth and how to tune the violet in an upcoming video. But I just wanted to, once you do have a big picture idea of how this actually goes. Over here, we have the shoulder rest, which is what we use for. Now. There are some people who don't use the shoulder rest are some people who just use the violin liking that and that's fine. It's just, It's much harder to hold the violet If you don't have a shoulder rest and it actually hurts your neck and your shoulder a little bit more. But if you have a shoulder rest and good thing about this sign is that it's so soft. It's so it's like a cushion, right? It's so nice annually, so easy to use. And it just makes the experience a lot better. And that honestly, I just never play the violin with others. You'll notice it's just much easier, just lands right on your shoulder. It has some cushy material here, so it's nice and it doesn't really hurt your shoulder, it doesn't really hurt your neck. And it's just much better experience playing the violin with a shoulder to shoulder s. So if you don't have one of these, because I know not every violin comes with a shoulder rest. I highly recommend picking one up if you'd like. If you have long been fantastic, if you don't, I highly recommend getting one of these because it just makes your life a lot easier and they're not that expensive, they're pretty cheap, right? So definitely they get one of these if you don't have one. Now there are a couple of specific parts of the book that are really important to know. Right here. You have the screw, right now this screw is used to tighten or make the bow software, right? So if we go in a counterclockwise direction, you can see that the boat becomes much softer, right? It's, it's pretty much you can't even really play with this at this one. It's usually only make it softer for preservation, right? Like if you're stashing your violin away indicates you want to make the bowl Louis off there. So it doesn't damage it over time, right? But what you're actually playing, well, you need to do is you need to go in a clockwise motion with this group. And what this does is that it actually makes the boat tighter. And here, let's take a look at this. Now. There we go. Now we have a nice firm bow here. And as you can see, it's not a soft as it used to be, right? And you usually want to tighten this until the point where the bow is almost straight, but it's still curving a little bit at the top, right. So now quite straight, but pretty close. Over here we have the hare, which for those of you don't know, this is actually a fun fact. This is made of horse hair, which is pretty interesting. I don't know why that is, but that's how they make it. Over here we have the frog, which we're gonna be talking about the frog a lot when we discuss how to hold the bow properly. So stay tuned for that. But this is what we referred to as the front, just so you know. And up top is the tip of the bow. Right? So just to go through everything one more time, just to make sure we understood everything. Tip of the bull frog screw and of course the hair, right? And let's take it out and look at the violin just to make sure remember everything. We have the chin rest, fine tuners, that bridge, fingerboard, the pegs. And of course, the shoulder rest which goes, Are you alright? 5. Preserving your Instrument in Good Condition - Beginner Violin: In this video, we're gonna learn how to preserve our violin in the best condition possible. Now, you've paid a lot of money for your violin, or if you're arranging it, you wanna make sure it stays in good condition for when you return. So it's very important that we spend some time discussing how to take care of our violin. So I already alluded to this previously, but it's very important that you never leave your violin lying around, right? So if you're playing your violin, go for it, right? But if you're not, if you are done, they are if you just want to just go away from the violin for a couple hours, make sure that every time you put it back in the case, you don't want some other instruments like a guitar, you could probably display it, or a piano. You don't really do much with it. But a violin is a very delicate instrument, and it also has a lot of delicate parts. For example, the bridge or even the pegs. They're very delicate, Right? So they could be easily damaged. So what you want to make sure is to always put an out of harm's way as much as you can. So every time you're done playing violin or anytime you want to take a break from it, just make sure you put it back in the case and you secure it and you put it in a second. Every time you put it in the case, of course, it's very important that you take off the shoulder rest will discuss exactly how to put on the shoulder rest in the future videos. But for taking it off, you just figure, it just slides off. Okay, so nothing too crazy about that. Now let's talk about the book because I already talked about how we can use this group from when we want to put the bowl away to make it a little bit softer. Now, it's quite important that we do this every time you put it away. Because if we never make it software, if you just leave it tight like that at all times. After awhile, if they're accompany years, it's going to damage the book. So It's a boat that you plan on keeping for a couple of years, then I suggest just make off softer, right? It doesn't take it takes like two seconds. All you need to do is just go with the goal right here and screw counterclockwise. And she'd get to this stage where pretty much the entire hair is so soft that you can just kind of brushed against your half, right? At this point, it's good enough to go in the case and be put away for good. Okay, so it's very important that we do this every time. Again, just to make sure our violin and our Bull doesn't need that. 6. Shoulder Rest and How to Use it - Beginner Violin: In this video, we're going to learn how to put on the shoulder rest and also how to apply the rosy. Okay, so these are just two more things that we need to be able to know how to do before we can get into how to actually play the violin. Okay, so let's start with the shoulder rest. Hopefully you've got one by now. If you do, this is what we're gonna do. So first let's just start with this. Every shoulder, wrist has a larger side as smaller site. Once it is thicker and one side is thinner, right? Now, the larger site is a site that is supposed to go on your shoulder, right. So just put this down for you. The largest side goes right here on your shoulder and a thinner side kinda elongates onto your chest. Okay. So it's kinda supposed to go in this formation, right. So as you see the larger side, which is this right here, goes on the shoulder and the thinner side elongates onto my chest so that I can sit nice and comfortably on my shoulder. Alright. Now, because of this, the larger side has to go on the right side when you're applying, right? So when you're putting it on the violin and make sure the larger side goes on the right side, right? And in order to put it on, you might be like, Well, how am I supposed to put the sound? That's kinda hard. The easiest way is to take the violin and put it against your chest, okay, with one hand. Once it's against your chest, you can just use the other yet to take the shoulder rest. Again, remember the larger side on the right side. And you put it on and then you just slide it, right. So you put it off and you slide it until it's kind of at a position where it's pretty fixed. It's on moving, right. Like if I just do that, it doesn't come off. Okay. So again, just so you can see a little bit better, I'm going to do it from this side, but always it from this side when you're putting it on. Okay. I'm just doing this so you can see a little better shoulder as we kind of put it on. Right. And then once it's on, we decided, okay, if a moves on aside from that side, it's landed a and we tried to sighted quite equally on both sides. So we don't want this, we don't want one site to me here, wants that to be here, right? We wanted to be ky equal, right? It doesn't have to be exactly equal, just as long as it's roughly equal, it should be good to go. Right? And then you study both sides until it's in the fixed position, doesn't come off. Now, you're ready to put this on and get lucky, but make sure that large side is on the right side and it goes on your shoulder. So the larger site on my shoulder, the other side elongates onto my chest and my chin goes on the Chandra's until like that. And if you do this properly, you should be able to hold the violin without using your hands, just your chin and your shoulder. Okay? Now, a lot of beginners make this mistake that they put the shoulder wrist on their chest more than their shoulder. So they kinda come right here because it's easier for you to use your chin, right? And a lot of beginners, and instead of taking your chain to the other side, kinda just even hovering here and they end up with the shoulder as not being under shoulder. Now, when you do this, now you can't really hold it with, without your hands. Now you become more reliance on holding it with your hand, which is gonna create other problems going forward because this hand needs to be free. So you can use it for finger, right? So you should be able to do all sorts of things here, okay? This hand is not meant to hold the violin. This is very important because a lot of people make this mistake. A lot of people hold the violin with this hand and then they just kind of have it kinda under shoulder, canula, chest that change China here, but not really applying a much fresher. No, it's very important that we learn from the very beginning. We're supposed to hold the violin just with our chin and just with shoulder. Okay. No hands. This had is used for Boeing. This hand is used for creating the fingers on the fingerboard. Okay? Neither of the hands are used for holding the violin. Okay, I hope you got that. 7. Rosin and How to Use It - Beginner Violin: Alright, now, time to talk about Rozin. Now, what is Rozin? You probably have something similar to mine. In your violin case. Mine kind of looks like as a complex like soap. But for some people it's a little bit larger. Some people it's a little bit smaller. Basically, what this is, is we use this to make them Bu, stake to the violin better if that makes sense. So basically, this material, it's kind of some chemical that creates friction between the boat and the strings on the violin. And that helps us produce a better sound basically. So if you try playing the violin with a bowl that hasn't had any Rosen applied to it. It's all going to sound like Rate. And the reason for that is because there isn't enough friction between the boat and the violin to create the proper cell. So it's very important that every time, and I mean, every time we start playing the violin, we first apply some rosin on turbo. Now how much Rozin do we need to apply? Well, there is a test to know if you have applied enough, and we'll talk about that in a second. But first let's talk about how we actually go about applying arousing. So we just take this, this thing, right? And we put it as the bow. And there are two different ways you can either go. Just nice and simple like that. Make full contact with the Rozin as you're going along it. And just keep doing this for a little while, right? This is one way. Another way is to go and whatever the jerking motion, go forward, backward, forward, backward, forward, backward. And we just do this for little line. Either way is fine. Whichever one is more comfortable. I'm just used to doing it this way because I just did it from when I was a kid and I was playing. But you can do either way. Both are perfectly fine. And then after awhile, usually about a minute reversal of applying rosin. You want to take a second and do this test that I'm about to discuss with you. So you just take any finger kinda brushed against the hair on the boat and see if it leaves enough dust. Now you wanna see a good amount of white dust left on your finger. If you don't see enough dust or you see barely any dust, that probably means it's not now. So right now don't have enough desk on my finger, so I am going to keep applying a little bit more. And basically you want to apply and just check every 30 seconds or so. So apply for another 2030 seconds. Just go back and forth. Again, this jerking motion, you can try doing it with news. Well, try to stay in a straight line as well. It just makes it easier if instead of doing this, if you stay in a straight line, just makes it easier to apply the Rozin or this way whichever we want. And that will be check again. So let's check one more time. There we go. As you can see, it's left a lot more dust this time around. So that's actually a pretty good amount. I can see a lot of white thus, I my fingers so that pretty much means we have enough chemicals on our boat that we should be able to create the proper friction in order to create the proper sound out of the violin. So at this point, it's pretty good. We can put the Roslyn away. But again, I just want to stress this one more time. You need to apply the rosin every single time you play the violin. Not just once a week, not just once a month, not just once every ten times bigger, you know, every time need to apply it because it actually, once you start playing, the rosin starts going away right there rather than those that stay in the boat for that long. And especially if you start playing, it just goes away even quicker. So every time you pick up the violin, just make sure you apply Raoult's into your mobile-first and when it's all good and you've done the test and it's all good to go, then you can move forward with playing the violin. 8. How to Tune the Violin - Beginner Violin: Alright, we're going to learn how to tune the violin. Now, in order to do that first, we need to learn what each string actually is. So we have four strings on the violin. I'm gonna put a nice little display here for you. This one is the G string. This one is the D string, a string. And the string. So one more time, going from left from the thickest, you have the G. And the second one from the left. The second thickness is d. And the second one from right, which is the second thinnest is eight. And the first one of them all on the right side is the E string. Right? So G, D, a, E. Okay? Let's try to learn these strings from this point on. Because moving forward we need to know which one to a string is. We need to know which one to E-string is. So I can just use the, the picture that we have on the site to help you out to remember which ones they are. And you can take notes if that helps you in under. But now that we know what each string is, now let's move forward to how we're going to tune these strings. So one string at a time, or we're gonna do is we're going to play them. So you can just play them by pinching the string with your finger. We don't have, you don't have to use the bow even we can get into how to use the boat later. But for right now and you can just finish this string. And as we discussed, open your metronome app in your phone or your tablet or whatever you use. If you have an actual metronome that could work too. And what you wanna do is you want to play nice rings and get feedback from the app as far as how close to the notes you are right? Now, if you're pretty close to the tune that you're looking for, for example, they eat. If you're pretty close. But if you're pretty close to that sound, what's going to happen is you're going to see the same note displayed on your app. But there's going to be a bar that indicates maybe your little twofold work or your little two backwards from the actual tone. And then you have to adjust for that with the fine tuners. Okay? So basically, when you play it, which of these? If you see the right notes displayed on the, on the app, that means a Yolngu to use the fine tuners. Okay? However, let's say you tried to a string and the app is showing you some other node. Let's say it's showing you G instead of a. Well, what that means is that you're really far off from the actual note, right? You're, you have a very different tune that what the actual tunis. So in that case, you need to go and use the pegs to adjust and make sure you get closer to the actual tone, right? So if you're pretty close, you're fine with just using the fine tuners. But if you're really far off, then the fine tuners on are going to cut it. You have to actually use the paintings. And in order to use the pegs, what you need to do is to first push them in and then move them, right? So you don't want to just move them. Let's try this one right here. So this is. For a string, right? And yeah, you can just follow the strings, see which one they correlate too. And I use that Peng, right? So if you follow the a string and you see it goes all the way up here to this peg, okay, so this is used for the a string. Now, if I want to tune the a string, let's say it's way off. Let's just put it off on purpose. Right? So that's not a string that's really far off. How do we face them? First we need to push this in, this peg. They push it in, and then we move it. Alright? And I try to see if I'm getting closer. And I'd kind of get some feedback. Again from the app. Does a sound closer to a, or it does. Am I still going further away? If I'm going farther away than I maybe need to change the direction I'm going. If I'm getting closer to a and I start seeing a, well, I can just leave a b there and then I can move to the fine tuners for fine tuning to find exactly the correct tone. Okay? So again, tuning has two parts, environment. It's not just one little thing, it's different than guitar and other instruments. We use the pegs only for one, we're really far off and we don't use them for other times. Okay, so for pretty close monomials, the packs, because the slightest little movement with the pegs actually changes the tune dramatically. Okay, which is why we don't use them for fine tuning. We only use the fine tuners, okay? Now, some violins don't have fine tuners on the G string, for example, like mine doesn't. In that case, just use the banks. You, you don't really have a choice and that point, but most violins actually have all the fine tuners. So if yours has all the fine tuners, you should be okay. F naught then for the G string, if it doesn't have the page, you can just upside if it doesn't have the fine tuning, just use the banks to do that one. But that's pretty much it. Nothing too crazy about it. It just takes a little bit of practice. At first, it might look a little intimidating. But all I'm gonna say to you is, don't be afraid. Just do end but be gentle with especially the pegs. You don't want to push them to suddenly in one way or the other. Because that might actually break your string if you actually go really hard. So I don't want you to worry either, because if you don't go too crazy with it, it should be fine. Nothing should happen. But I do want to warn you, don't go too crazy with it because it might pop the string, right? And it's also important to know that strings do pop every once in a while, especially the eStream. It's a very delicate string. So you do want to change your strings, let's say six months or every year. So if it does happen, just don't worry. It might just be because a string was old, any needed to be replaced anyways. But as long as you are gentle with it, it should be fine. You shouldn't damage the Bible and okay, so push it in words first, gently move it in different directions, see if you're getting closer to the desire to him as displayed by the app. And if you get closer, then you can leave the peg, move down to the fine tuners, and again, move clockwise counterclockwise. And we can just keep trying it right. See if the tune is getting closer to the actual tune that we are looking for. And that's how we tune the violin of the hubs. 9. Holding the Violin the Right Way - Beginner Violin: Alright, in this video, we're going to learn how to hold the violin properly. Now we already discussed a little bit about how the shoulder rest is supposed to be positioned on our shoulder. And we want to build a little bit more on that. So let's start with what we just learned to shoulder rest of larger part is on right side. Smaller powers on left side. Larger part is supposed to go on our shoulder. Thinner part is supposed to go onto our chest and just put over here. Our chin goes over here on the chin rest. And while our holding it with that easy hands, right? So this is actually really important that we start practicing this because we need to make sure our body gets used to holding the violin with only the chin and shoulder. This might feel a little weird at first if you're trying it for the first time and it might fill, my shoulder doesn't feel that well. My chin doesn't feel that well. You just have to get used to it. And if you do it a couple of times, your body starts adjusting itself to it and the violin kind of becomes a part of you. And I would just kind of become second nature to you like I don't have to worry about. And after thinking about where my chin is, that after thinking about what my shoulder as I just do it, right. I put it here and I go like that right? Now. I understand at first it might be a little bit more difficult because it might be like, oh, I'm trying to get above myelin keeps falling down. The best practice is to just have your NAND kinda hovering over here. So that just in case about enforcing, catch it easily. But you want to make sure you actually practice this practice holding the violent with only your shoulder and your chin. And Paxos is a couple of times because this is very important fundamentals that we need to make sure we're doing properly. And yet, they put the violin on your shoulder over here with the chin. If it's not totally securities had her hand hovering over here and if it follows, wouldn't catch it. But we're going to try and make sure we keep it there as long as possible. Okay. And if you can hold it for a couple of seconds, traveling it for a little bit longer. And I promise you you will get more used to and, and become much easier to you as you do it a couple of times. Now, if you're getting a little bit more comfortable with this, we're going to learn how to position our left-hand over here. Like where does i had come to the equation if you don't need it to hold the violin, why isn't even there at all? Well, the left hand is he really only there for our fingers to be able to produce new notes on the fingerboard. Okay. So our left hand kinda goes over here and the thumb will be stationary. It will be on this other side of the board. And it will make, our phone is never going to come on the strings. Okay, this is very important. We don't want it to login history, we don't want it to effecting into strings were just kind of stationary over here. And the other four fingers are going to hover above the fingerboard. Okay. Now the reason why they are hovering above the fingerboard, because, because anytime I decide, I want to let say, for example, I want to put my third finger on the a string. I should be able to do that within a moments. Notice, just like that. Okay. I should be able to go boom, there it is. Or let's say I wanted to put my first finger on the eastern boom and just put it like that. When you have your fingers hovering above it. This is much easier and you can just do it at a moment's notice just like that, you don't even have to. Worry about moving your finger over here, we're doing this and doing that. The other thing, you can just put it down and it's right there. Now, like I told you, a lot of beginners make this mistake that they hold the violin with their hand instead of holding it with their shoulder and their chin. And what ends up happening is that if you hold it with your hand, just like that instead of your chin, for example, then it's really tough for your fingers to be able to do anything, because the entire weight of the violin is on your hands. And your fingers are kinda just so they're not really hovering above the strings. So if I wanted to put my third finger on the G string, I have to go like that and just move my hand over. Yes, that's a disaster, right? It's soul. So much harder to play anything. It's very important for you to learn this properly from the beginning. And it'll make your life much easier. It'll make played a myelin much easier. It'll make producing notice much easier. So I know it might seem like a little bit of a work at the beginning, but I promise you it will make your life a lot easier going forward. So it's really important that we get used to hold the violin with only our chin and our shoulder. And we also used to having our hang in a place where stationary, but all the other fingers are hovering above the strings. Okay? And also another important thing here is that we need to make sure wrist over here it is street. Because if it's not like if we creeps in like that and just makes the use of the fingers harder. If the risk is straight, it just makes a lot easier for our fingers to hover above the strings and just come up and down at a moment's notice. Okay? So make sure you have all of these rights. You can look in the mirror and see if you're doing it properly. This is probably the best way to self-police yourself when you're holding divided, just look in the mirror and just ask yourself, is the tip of the bow as the tip of the bottom? And excuse me, in the same plane as my nose, that's a very key indicator because if it's not, That means that you probably like crouching over or you're holding it too high. You want to make sure you have a good posture. If you're sitting, you need to set up. If you're standing, you need to stand with the good posture and make sure the violin is kind of in the same plane as your nose and it needs to be parallel to the ground. Okay. So just ask yourself in the mirror. I only holding it with my chin and my shoulder is a violin parallel to the ground and is the tip of the violin in the same plane as my nose? Is my thumb over here. It was not coming over on strings and arm. All my fingers hovering over the strings is my left wrist straight. Okay. He's all of the things you can check in the mirror. And if you're doing all of that right, then you're ready to move on to the next lesson. However, if you're not, I highly recommend that you spend little bit of time trying to fix these issues, okay, because it's a lot easier to fix them now. But if you start developing bad habits and learning things the wrong way and just kind of get used to doing things their own way. It'll be a lot harder for you to unlearn those bad habits. Ok, so just take a little time. Just go through this checklist. I'll go over it with you on mortar. Is a violin in the same plane as my nose. And my only holding with the chin rest and show the rest. And where's my hand situated? Is my wrist. Streets are my fingers all hovering above the strings. Okay. And if you're doing all of those properly, you are holding the violin properly and you're ready to move on to the next lesson. 10. Fingering Exercises for the Left Hand - Beginner Violin: In this video, we're going to learn some fingering exercises. Now these fingering exercises are going to help us develop some muscles in our left hand fingers. So that going forward as we get into fingering on the violin, we are able to perform these better. Basically, we're going to be performing a lot of movements that are unnatural to our body, right? We've never held a violin before. You've probably never using fingers on the violin before. So a lot of the things that we're going to be doing, we need to start developing muscles where it, right? Think about if you wanted to play basketball for example, right? You need to, well, you don't need to, but if you do, let's say go to the gym. If you build some muscles, there'll be a lot easier for you to play the game because it's a lot easier for you to handle ball. Its, there'll be a lot easier for you to shoot the ball. And it's just, you allow more capable, right? So it's always a good idea to build some foundation. And that is all we're going to do with these fingers are sizes and these fingering exercises will make your life so much easier than you can only know in retrospect, he will not know until you get to the point where you're trying to put your finger on the violin and you're like, oh my God, this is hard. And after awhile, it just becomes so much easier. And one of the best ways to do that is by doing the exercises. So I'm just going to show you how we do them. I'm gonna do it up here on my phone because it's a little bit easier for you to see. But usually you can do this on your thigh or something or on the table. Wherever you're saying. The best part about these exercises is that you can do them anywhere, like you can do it if you're sitting in an Uber, you can do them. If you're sitting at a desk, you can do when you watch any TV, you can just use your thigh and you can go anywhere. And because of that, there's really no excuse for you to not do. They only take like five minutes or something. And really you should be able to do like five minutes a day, I'd say. I'm pretty sure you have five minutes a day where you're sitting somewhere up or you're sitting in an Uber or you're watching some TV and just do him for five minutes, they sitting not doing anything productive. This is one productive thing that you can actually do at the same time and it'll help you a lot going forward. I cannot stress this enough. So let's get into what these exercises are. And all of these exercises will be for the left hand because the right hand is going to be used mainly for Boeing. And it's the left-hand that is going to be used for fingering on the fingerboard. So I'll just show you up here. The way we are going to put our fingers is kind of in this curving over type of thing. So it's easier for you to see it. We're not just putting him lie flat on the road. I'm just lying flat on any surface. We're kinda putting like that. And the tip of the finger is the part that is making contact with whatever surface and putting it out when it's desk or whether you're just putting it on your thigh? This how we want to put it down. Okay. And these are the exercises we do. The first exercise is pretty simple. We just take one of the fingers at a time. We go up, we come down, we go up, we go down, we go up and down, up and down. Now, if you try this for everything, you probably have found the ring finger is actually the hardest finger to form this width. And the reason for that is that biologically the Bray finger is actually connected to the pinkie. And this is true for the vast majority of people. Some people don't have this problem. But the vast majority of people actually have a tough time moving their ring finger without moving their pinky. And even for me like I'm able to do a little bit, but I can't do it that much. And the only reason why it can't is because I've done this practice along. Right? And you just want to Kyle and get to this room. It's little hard at first to do it as fast as that. So at first we just wanna kinda go one at a time. Take your time. If it's hard to lift the ring finger without the bacon and just doing both together. That's why just if it's hard to do that, just do both of them for now and at the big key. Okay. So we'll just go through all of them and eventually won't dispute this, right? As we do this, we want to get faster and faster. And faster you are the better. It just means you're morally right and your muscles are better developed. Now this is the first one. We have three more to go. The second one is just kind of a little bit of an altercation on this. So instead of just going up and down and we want to go up super fast and then come now slow. So boop, come down, come down, boom. It's like a rocket launch goes up in the air. Think of it as, as if you're touching something super hot and you just come touching, but 2v, and you just want to take your hand away immediately. It's kinda the same way you just imagine, like that surface or this phone or whatever is super hot. So you just kinda tells you, oh, and then slowly come back down, 2w, slowly go back down, BAM, slowly come back down. Saying that the baby boom, slowly come back down. Okay. So that's the second exercise is that we go up super-fast, come down slow, okay? Third one is the opposite. This exercise, we go up slowly and we crashed down. Okay, SO super-fast, I'm going down. Still up, boom, fast down, slow up, boom fast. Don't slow up, boom, FASTA. Now, as you're probably imagining, this exercise, will help us be able to put down the fingers on the violin at a moment's notice, right? So we talked about little bit about how we want to have our fingers hovering over the strings so that we're able to put down any fingernail we want super-fast. And this exercise actually helps us with that too. So they go up slowly and blue would come down super-fast. Cool up, somebody bam, crashed. Now, needed just try this for all of them. Ok. Now, these first three exercises that I just taught you, you should be able to start working on the right now. And if you do in just five minutes a day, you and I have to do all that much. Just five minutes a day, you actually get a lot. You actually progress a lot more and a very short time. And you'll start seeing the results. You start seeing immediately that, hey, it's actually a lot easier for me to deal with them. Like a couple days ago, this was pretty hard, but now I could do it no problem, right? The fourth one that I want to introduce to you is a little bit tougher, does a little bit of an advanced one. So if you can't do this quite yet, don't worry about it too much, but just give it a try, saving it. And this one will want to do. I wanted to kind of alternate between the fingers that we lift and we want to lift them at the same time. So we do the first third at the same time. Second before at the same time. Kind of like that. It's pretty tough, isn't it? That's okay. You don't have to worry about it too much. This is literally the more of an advanced one. And right now just try doing it slow and steady. And if he can stood us less Lady, That would be nice. But as we get a little bit more, as we progress a little bit more into the violin. This is another exercise that'll help you out a lot and it'll actually develop a lot of muscles in this region and help you with fingering on wireless. So do those exercises again, just five minutes a day. You can do it anywhere. You can do them. Like sitting down on a couch. You can do on when you're watching TV, when you're talking with someone you can do you can do anywhere, right? As long as you're sitting down and you have a couple of minutes, you can just boom, boom, boom, boom, boom, boom, boom, boom, boom. Stood super-fast and get it over with, and it'll help you out a lot. So definitely do that. And that's suffering. 11. Holding the Bow the Right Way - Beginner Violin: In this lesson, we're going to learn how to hold the bow properly. Now we already learned how to hold the violin properly. And we also already learned how to prepare our fingers for when we eventually get onto fingering on the violin. But now, let's get on to the book. Now we know what each part of the bow is called, but how do you hold this backbone? Well, it's actually a little bit more complicated than it might seem. You don't just hold onto it like that and just glide it. It's a little more complicated. So first of all, let's make sure we have a loose wrist, right? You don't want to clinch your wrist or anything. Just kind of a loose wrist just like that. Nice and easy. And I want to take the middle dividers and put it on the front. So remember this bird was the called the frog. Put on there, grab the Pinkie goes on the screw and the index finger goes, you see this black swan jewelry and that's where the index fingers most arrest. So metal twang fraud. The pinky on this group, and the index finger goes on the sprite. And now what about the thumb found goes over here in this crack solvent. Let me show you this. So there's a little bit of space between the sponge and the frog over here. There's a tiny little bit of space. That's what a thumb is supposed to go. Sort of tip of the thumb makes contact right there. Alright, so just to show you an action here, and the thumb goes right there, if you can see that. Now it's also important to note that the thumb is bending outwards, so you don't want to have it like that and it's bringing inwards. That's actually really bad for your risk, for your hand that's going to actually hurt you, okay? So make sure your thumb is bending outwards. And this way you can actually exert a lot more control over the bow as well. So the tip of the thumb goes in that crack right there, just the little gap between the Spanish and the frog. And the thumb itself is bent upwards. Okay. And that's how you're supposed to hold the book. Ok? So if you're holding a life that will let me actually get, get into this for you. The reason why you hold it like that is because we want to be able to exert just as much control as possible with our wrist over the boat. Okay. If you just hold it like this, as I mentioned, normally have too much control over the bow with your wrist alone. A need to involve your hand, okay? You need to involve the entire arm. And your risk really doesn't do that much, right? The reason why we hold it this specific way is because this is the best way to get as much as possible without really using that much of the arm and using our the wrist. Oh, yeah. So really there are two specific places in your arm that are moving when you're playing with the book? Right here and right here, okay? The rest being the main part. So let's say I wanted to play the usually when we're using the boat, we want to make sure it goes in a straight line. We all want to just go anywhere. That's, doesn't seem like the most efficient way to use the bow on the violin because it just goes all over the place, right? When we're using the boat on the island, it's really important for us to keep it right in the middle between the fingerboard and the bridge. And it's important that we go in a straight line, okay, so our bows never supposed to go on the bridge, never supposed to go on the fingerboard. Suppose, say right in the middle in between that are supposed to get close to you. And to be honest with you, if you get close to you can just try going close to each of these and you just see how bad it sounds of s. Suppose Stan right in the middle. And in order for us to be able to do that, we need to be able to go in a straight line, okay? Now, the best way to do that is first of all, holding it properly, which gives us a lot of control over it with arrest. And then this specific motion is that whenever I broke comes inwards, arrest comes out. Anytime it will goes outwards, a risk goes in, right? So this is very important. We're basically counterbalancing with the boat because in order for the boat to go in a straight line, our risk needs to move in the opposite direction, right? Otherwise, it's going to go where I'm like In fact, if our risk stay steady, look at this. You see the boat, it's kinda goes behind the head, right? We don't want that. We wanted to say in a straight line. And in order for us to do that, we need to use our wrist and our risk needs to move accordingly. So if the ball is coming inwards, the risk comes out. The Bose going outwards the risk was it. Okay. Now I'm going to show you some exercises and the next video. In a soil, we can actually start getting used to this motion, a very specific motion. And if you've never done this before, this might seem a little foreign to your body and your risk might not be as smooth as it probably should be. And that's all fine if we're going to give you some flexibility trainings in the next video in order to prepare your right wrist for the specific motions that were going to be using on the book. So I just want you to have a big picture idea of how we use the boy, how we move it on the violin. So that when we get into the exercises, we kind of see where every exercise fits it. 12. Wrist Exercises for the Right Hand - Beginner Violin: Alright, it's time for us to learn, how are we going to train our rights wrist for Boeing purposes, right? So we already learned how we're going to train our left hand fingers for fingering on the violin. But it's also very important and we started developing some muscles in our right wrist because bowing is mostly done with our risks as we already discussed, right? So there are two places in your hand that you use when you're boat, when you are Boeing, and that's your wrist and of course your album. Okay? And it's very important that we start developing some muscles to make our wrist movements smoother and make our risks more flexible in general. So a couple of stuff that we're going to do is going to be off the boat. And then we're going to implement some of them on the bow as well. Okay. But we're going to start with the off the bow exercises simply because those are the ones that you can do anywhere, right? Like you can do whether you're sitting in a bus station. You can do if you're sitting at your desk at work, you can do anyway, right? And it doesn't take any time, kinda similar to the fingering exercises. Whereas the bow, the, the ones that use the bow, you have to have your bowl with you, right? You can't just do it anyway. So let's just start with the ones that you do off the bow. This is the first exercise that we do. We simply just go up, down, up, down, up, down. Nothing too complicated about it, right? The only thing you have to be wary of is that our emotion is fluid, Ok, so you don't want this kind of a, this kind of notion, right? Like you don't wanna just go like from this position to this position you wanted to glide over if that makes sense. And just keep doing that right? So try it a couple times right now, see how you feel about it. It shouldn't be too crazy, but it should get your muscles. Are the muscles around your wrist going at this point? Okay. Yeah, so just try it a couple of times. And once we've done that now let's try the second one. The second one is a little bit more complicated, so follow me before you try it yourself. We're going to do, first of all, it's important that we have our wrist very loose and are handling. So we kinda hanging, right. We don't want it to be stiff, so just make sure it's loose. And then what we're gonna do is we're going to move inwards and outwards. But in a very specific way, we move inwards with our hand, our wrist bands outwards. And then when we go inwards, our wrist bends inwards, right? So the opposite of the duration we're going, if we're going inwards, the risk has to be outwards. If we're going outwards, the rest has to be inwards. So it's always the opposite. And the reason for that is because we want to get used to going in a straight line, right? And so that's the reason why we have to balance coming inside with a risk coming outside. Okay, so for all the people who are probably asking, why is that? What are we trying to do this? That's the reason why. Ok. Because there's a very specific motion that we need to get used to. Okay. So try it with me. First of all, make sure our wrist is really loose. And then try it coming inwards, but with our wrist bending outwards. And then the opposite way. Out with our risks being in. And again, it's very important that this motion is fluid. We don't want to make these kind of jerky motions, but to make sure we go slowly from one position to the other, okay, so slowly our risk comes out as we move in and slowly remove. Node moves in as we go outside. Okay, so that makes SAS, you can just follow me with that and you can try it on your own as well. Just try with me. Make sure you're mimicking my movements because it's very important that we do this, this specific way. Okay, so if you're doing it even a little bit off of what I'm telling me to do right now. You're not gonna get you're not going to be doing the right motion. So it's now going to be as effective for you. So make sure we're doing this. So r, again, wrist is very loose. As we move in. The risk comes out. As we move out. The risk goes in. When we're tiles tried together. Move in, risk goes out. Move out. Risk goes in. Just like it. Yeah. And this is an exercise that we're, are going to be doing with the bow as well. Okay. It's usually a good idea to get used to this motion before we try it on the bow. So try it a couple of times. Come inside, the risk goes out. Go outside, the risk goes OK. And then one last exercise that I will give you before we move on to the all new bow exercises is this one. So we're kind of just going in a circle, right again, nothing too crazy line this one, this is pretty standard one. But it does help at least one more purist, right? So these two, this up and down motion and this circle in motion, these are really good for warming up, especially you before using the boat. All right, now let's try on bow exercises. So like the bow right here. Remember how we hold the bow in a specific way? Now let's try. The very first thing that we did off the bot was this up-and-down motion. Let's try it out with the book. So you can put your other hand at the tip of the bow. And this will help you do the motion without too much trouble, right? Because if you don't do that like the bowl might be a little too heavy for your wrist. So just help it out a little bit by holding the tip with the other hand and then just go just like that. Okay, so that's our first exercise on the boat are second exercise is the complicated one that we were doing off the boat. So remember, go in, but I risk goes out, go outs, but our risk goes in. All right. And as you probably noticed, my bow staying in a very straight line simply because as I go in, my reasons coming out and as I go out and theirs is going in, lets say this, my risk was not doing this right? Let's say my risk was staying stack and it wasn't really moving. Looking what will happen? That's on a straight line as it now, that bow is kind of going to the back of my head, right? And that's only one, Right? We wanna make sure that our bow stays on a very straight line as we play the violin. And in order to do that, we need to make sure our risk is always moving and it's always moving against the direction that we're going. Okay. Just like that tried a couple of times again, you can have the other hand of the tip of the bow to help you out when you're trying this exercise. Go get, go in, risk comes out. Go out, risk goes in like that. And again, make sure that the movement is very smooth and it's very fluid, right? We don't want to do this. I'm gonna make sure we go smooth and nice and easy. Okay? And our last exercise is again, remember the circling motion or would do that with the bow as well. Right? So I get nothing complicated about this one. Pretty straightforward. And those are the exercises that we do with or without the boat. Again, it's very important that we do these simply because they're just going to make our lives a lot easier when we move on to start playing on the violin. So it's really a good idea to at least take five minutes a day like that shouldn't be a problem, right? Barely customer anytime you can do it while you're doing other stuff, you can do it when you're watching TV or when you're sitting on your desk at work or wherever, right? You can just go boom, boom, boom. And just hops your wrist. Get used to these motions. So that when we're trying them on the violin, it's actually a lot easier. Okay? So definitely do these, definitely do at least five minutes a day and let me know how it goes. 13. Playing the A String - Beginner Violin: In this video, we're going to play our very first note on the violin. So I want to congratulate you for getting this far. So far we have been doing some little bit more boring stuff, Livermore gating already for getting to this stage. And now that we are at this stage, I just want to congratulate you because we are about to play our very first note. And the very first film we're going to play on the violin is a. Now if you remember, we talked about what each string is. Get the G string, the string, a string, and a string. Alright, so this third term right here is eight. And that's the string that we are going to be playing today. Okay? So first of all, let's make sure we have our violin, hold it properly and get all the checklist is on the same level as my nose and my holding it with my channel, my shoulder and all that. And then we add this hand. How forcible, make sure we're holding properly. We've done it exercises. We know how to move the boat. Now what we're gonna do is we're going to place stubble on extra. Ok. So place on Eastern. Again, make sure it is right between the bridge and the board. And it's random. Guess. So we don't want it to be like here where it's closer to the court or here where it's closer to the bridge will get one in the middle. Okay? Now, right there in the middle on a string. And what we're gonna do is we're going to perform the same motion with the board and we're doing off the violet. I'm just going to take it and just move it. But we're going to make sure it stays on the a string at all times. Okay? So this one, if you follow with me, as you see ongoing in a very straight line, I'm keeping it between the bridge and the board, and I'm making sure I'm making contact with the a string and a string only the entire time, okay? And I want you to try this. I want you to take your violin and try the same thing for your bow on the E string. What's important is that we make sure we're using the entire book for his lesson. So start at the very bottom. And so we go all the way to the top and then we go like I don't want to see change directions as we keep going. Okay, so let's go together over time. Along with me, truly globally. With me Pokemon Go. I want you to try that a couple of times to make sure that we actually get it down. And again, if you haven't mirror, it's always a good idea to try looking for how you're Boeing on the mirror. If you are going in a straight line and if you are holding everything properly, so you might, some people actually suffer from this. They start in a good position, but as they start buying, just forget about everything else are estimates. They're holding a pretty good, holding the violin pretty well. That Boas, pretty good. And then they stop. They're holding everything wrong, right? So make sure you're not falling into that trap. And make sure you maintain your position entire time. Make sure the bow is going in a straight line. And again, if you have a mirror, it's a lot easier for you to check all of these. So definitely try it a couple times. And CMOs. 14. Playing the Other Strings - Beginner Violin: Alright, now that we have played the string, we are going to learn a couple of other strengths. So let's start with the thinness of them all. The one of the very right, they eat, drink. We're going to do the same thing that we just did with the ace shrink, but now on the Eastern. So hopefully you've had a chance to chai on the E string a couple of times, and hopefully you're getting a little more comfortable with it. You producing a nice sound. You're going in a straight line and basically do the same thing on the E string here. So follow along with me. Began when going to hold the violin on the Home Depot. We're going to move to the east string over here. We're going to make contact near the frog because we're going to use the entire book. And once we're ready, we're gonna go ahead and play these. And you make sure you're using the full bow. And we're playing the eastern, which is the fed S1. And it pretty much should be the same as the async. And there isn't really barely any deference. That only difference is that you need to adjust your arm a little bit in order to make sure you're making contact with the correct string. So if I was making contact with a string and I wanted to play a string, my arm would be summarized here. But as I move the eStream up by having just one arm, the GFS cell, alright? And it stays there until I changed this string, right? So basically your arm correlates with which trained your plan. Okay? So thank alone if I was playing, let's say the thickest string, which is the G string on the very left. Files like that. Well, I'm wonder where my line goes now. Right? Whereas at the eStream its value. And that's, so that's the function of the arm. Basically. It, as you move it up and down, it adjusts which shrink or making contact with. So a produces different salaries like we. Now, let's try to restrict. Next. We tried to use string. Let's start the G string, which is the very left. Again saying thank you're obviously a lower, higher though because it is a string that they left. And I get, let's start from the thought. Go all the way to the tip. Let's try this one a couple times to again, if you haven't heard, just check, see if you're doing everything correctly. If you still keep going in a straight line, we need to make sure we keep everything you bought more, right? Like, I know there's a lot of different little things we have to pay attention to, but it's kind of like driving, right? Like remember when you first learn how to drive my cube, have to pay attention so many different things. You have to pay attention, even gold on this P limit, you have to make sure there's no bikers going like ethics makes shoulder checks. You have to look at the road like F, look at five different places at the same time. Be aware, find different things, right? It's kind of the same environment. At first it might be a little overwhelming, like, oh, I have to make sure my posture is good enough to make sure I'm going in a straight line. Your arm is in the right position. I have to make sure my left-hand MRI left, there's the string. There's lot of things they often make sure about, right? But just like driving after a while, you just get used to it and it kinda becomes second nature to you, okay, so just keep doing your best and you will get used to it, I promise you. Now let's try it with the string. That's the only stream that's left though. That is the second straight from the web. Hopefully by now we've had a chance to learn all the strings, just in case you forgot. Yeah, G, D, a, E. We're gonna go to the second one, which was a nice drink. I'm gonna job. So make contact with that. You can follow along with me because he well, that side near the Frog, although it's, it's it and then change directions. Here we go. Alright, hopefully that's simple enough for you. Just give these couple of strings and try and make sure we can play straight bars and all of them. And in this video we're going to trend a little bit with all these strikes. So try them out a couple of times and I'll see you next video. 15. Follow Me For More...: All right guys, hopefully you're enjoying the course so far. I just wanted to quickly mention that if you're interested in checking out my other material, you can find my YouTube channel, youtube.com, slash shirts and house, where I have a lot of free videos they can check out. As well as that you can follow me on social media, on Instagram and Twitter at Chevron house. So go ahead and do that and I will see you over there. 16. [Training] Playing All Open Strings - Beginner Violin: Alright, now we've had a chance to try playing all of the strings on the violin. We're going to channel it a bit together. So I'll just start reassemble. Let's make sure we have everything now allows us play every single string. Let's play the G strikers. With me. You strap. Now the string. The string perfects. Hopefully you can follow along with that. Now we're going to do a little bit of training. So what we're gonna do is we're going to combine some of these together. We're gonna play a couple of them together. And I want you to follow along with me. Okay, so the first exercise we're gonna do, we're gonna play to a strings and we're going to play 2D strings. Ok, so one bar 10, or the eastern one boats you bows on the eastern. Starting with a. Alright, now you follow along with me. Today's two 0s. If you're confused, it's really not that confusing. It's just a once, twice E on stress when we're tied together. Perfect. Next one as Tuesdays and two a's. So we're going to start in the district. So we need around to you a little bit higher as we need to make contact with d. And we have a 2D strengths and to history. So I'll play once so you know how it goes and then when you put it together. So it goes together. One more time, play with me. Perfects. Now on to the G string as we're going to play a QG strings and 2D strings. So yeah, we certainly G string, which is the highest. Your arm is higher up. And I'll play once for you and then you can play with me next time. Simple enough, hopefully, follow along with me because we violin, string. All right, one more time. Alright. Hopefully those were simple enough for you. Hopefully you can follow along so far. Now we're going to do a little bit of a more tricky one. This one we're gonna do is G, G, a, a, d, d, e, E. Now, the trick between uses, we jump from two GC, two A's. Alright. Well the thing is, these are consecutive strings. There's another string of the gene and writers need stringing material. So we need to make sure we can interchange without making a sound on the D string. So let me show you what I mean. So this is how we would play. So you can just take away a certain disarray. And the D and E strike. Now as you can probably see, these notions where I change the string, but I don't make a sign are very important. Ok, so there is going to be a lot of times where we have to jump between strings. And we need to be able to do that without playing the strings in the middle, right? Like if we have to play jump, you have to play a note on the G string. A string. We need to be able to do that. Yes, on the middle of the way you are making contact with the district, but if you don't play it, then it should be fine. It shouldn't make any salad, right? And the listener would never know that you went on that string, right? Because you don't never play anything on it. So try it with me. Try this transition. Let's try two Gs. And then for the first one, we can stop, do this transition together. Go on the a string, played a string. And we'll do the same when we're transitioning from the district to the E string, okay? And then after that, then we can just play dominant together here. So the first one we're gonna do right now, we're going to hold their transitions so to make it easier for us. So let's start with D-string together. Transition over you over to a. Thank you. Note also these Re transition over to the Easter egg like that, are somehow those that I hoped I was not too difficult. If you are kind of getting hang over it, then let's try a little bit faster together this time dieting causes, all right, one more time just to make sure we got the angular together. Alright. Hopefully you are able to play all of those. If there's any specific ones that you're struggling with, you can just try a couple more times on your own. And if you're having trouble, if you're having trouble with it, you can just come back and watch the video again just to see how exactly we're going about it. Ok. So hopefully that was helpful. And keep doing those trainings. And I'll see you next video. 17. Marking the Fingerboard - Beginner Violin: Alright, in this lesson we're going to get into the fingering part. So remember how we talked about when we hold the violin, we wanna make sure our fingers are hovering above the fingering works so that we can just put it at a moment's notice. Now, we need to discuss where exactly we're going to put it down, right? For beginners, what we usually do is we usually put some stickers or some staking odor, something indicating exactly where each finger is supposed to go. And then as you just keep playing the violin after a couple of years, you just kinda used to where it has been at the very beginning, you do have to put something there because there's just no indication of where your fingers are supposed to go. So I'm going to help you out with that. First of all, let's make sure our violin is tuned. So tune your violin right now. If you have to pause the video, just double check, make sure everything is in tune to a string specifically, because we're going to just use a string for this, for the installation part. Just picture that's in tune. Take out your app, your tuner, and make sure it's exactly in tune. And then once it is, here's what we're gonna do. We're gonna put our first finger just a little bit further up. And all we're gonna do is we're going to push this stream now. Okay, we're the tip of the finger or the very tip of the finger. Push, push down the string and just type C out sounds, right? And keep your tuner app, okay, because now we're going to try and find b, okay? This is a. The next note is going to be b, right? Try it and see what the tuner sense, okay, if it says it's a little bit as indicating it's a little bit before me. Scroll a little bit, a little bit forward okay. Until you can find. So I'm just gonna go ahead and find it. That's that's about where it is. And one of them is I've just taken a sticky note and I'd just chopped off some small little parts and I'm not going to use that as a sticker, but you can use a sticker, you can use whatever, right. As long as you have some sort of an indication of where do so. That is where B is. And again, if you use your own tuner, you should be able to find it. And I'm just gonna take the sticky note. I'm going to slide right underneath the streak, right? So make sure you don't put it on the string and put it underneath the string on the board. Okay. And now that indicates to me worrying first-in are supposed to. Okay. Now the next one we're looking for a C-sharp. Okay. That's right about where it should be. And again, you can do the same with the second mangers printed down, try committed forward or backward. It's little bit space that way from the first finger. So just try it a little bit here in that until you can find out. Okay. And then the third finger is supposed to be pretty close to the same fingers and just put your third finger right next to it and try it and to find d on the tumor type. And whenever you do, take the next one, slide number, that fourth finger should give us E. So you might be wondering, wait, isn't the next stream E? Well, that's the thing. The fourth finger and each string is the same as the next string. Okay, so again, we're looking for Egypt, but down the first three and the fourth finger is a little bit further away from third finger. And you just put a reformer a little backward until you can find exactly E on the tuner app. And once you do, take another sticker or sticking over whenever, indicate place. Okay. So you should end up with some sort of a setup looking like this, where every single places indicated. And again, you can use a sticker ag is thinking, oh, whatever, right. Just as long as we can indicated here on the board. Okay. And make sure it's underneath the strings. It's on the board and just stays there. Okay? And then once we have this indication, we can talk about how we're supposed to put up for you, but at least we know where they're supposed to go. Hopefully that makes sense. So do this setup parts. And once you've done this, we can move forward into learning how to exactly put our fingers down on the strings. 18. Proper Technique for Fingering on the Fingerboard - Beginner Violin: Alright, now that we have indicated all the places I was and I don't have mine, but hopefully you have earth. Now we can move forward into learning how exactly we're supposed to put down our fingers because there is a specific way of doing it. So let's pull the violin properly, is good about it, and then make sure you're not holding among them the sand. The fingers are hovering above the fingerboard. Now what we're gonna do is first of all, let's I want to phone. So where exactly is the functionalist to be? Obviously done this cipher, like his visit here as living here, here, here mercilessly, Good. So let's supposed to be right where the first indication is. So wherever the first thing we're supposed to go, that's where we've found viscosity situated at. Okay, so hold your thumb over there. And now what we're gonna do is we're going to put down our first finger. And the important thing is we've got to make sure we arc over, put it down. Alright, so we want to touch the string with the tip of our fingers and want to arc over kind of like a square kind of thing. Alright, so we don't want to just put it down. Flats will make sure we Ark down. So we have the tip of the finger and making contact with the string. Ok, so if you have long nails, you probably have to make them a little shorter because it's just going to pinned. Are you being able to put your tip on the string? Ok. So make sure you have short nails and the tip of the finger, we're going to put down history and we're going to push the string down all the way to down to the board. Okay? It's very important. And a might feel a little weird at first because the string, specially the thinner ones, they're not the best like they're not the best material. They're kinda my irritate your finger a little bit, but I promise you get used to it. It's just at the beginning of my seem that way after a while you just get used to and it doesn't even feel that bad. So put down first finger where it's indicated. Again, remember arguing over, push it down. And let's try playing that yacht and see what it sounds like. So let's first finger on the a string. Push it all the way now. And it's supposed to sound something like this. That's B, as we discussed, the next node after a is B. So when you put your first finger on the a string, you play the first note after a, which is b. So let's play B together now. Put down your first finger on the E string and perfect. Now let's try the second finger. Now what we're placing a second finger, we keep the first thing or are we don't remove it? We just add the second finger. Do so. We put down the second layer just like that. If you want, they can look, I keep the first one, I add the second one to it. And second one goes where it's indicated. The second finger produces C-sharp for us. Now, why C-sharp Nazi? We'll discuss that a little bit later, but for now, just know that the center finger produce a C-Sharp on this. Okay? So yeah, a strain makes known as meat and excellent a C-Sharp. So whenever you are ready, let's write together first two fingers down on the a string. And here we go. Now let's try the third finger. Third finger is right makes the second finger. So what do you put it down? There should be no space between the two, right? Unlike the first two fingers or there is a huge space between them, a huge gap between them, the second and the third finger, and need to be right next to each other. There is literally 0 gap and nothing they're touching each other. There is no gap in between them whatsoever. Okay. And if you look at the indicators, that's how they are indicated to the right next to each other. So put down your third finger. You have the first three fingers down on the E string, and that is going to produce D for us. So let's try playing D Again, the first three fingers down on the a string. Now, let's try together. Perfect. And now the last and certainly not least, the fourth finger yet put it down where does indicated it should be arching over. What's right together. So all four fingers now on the a string, and this is going to produce e together. Perfect. So if you've been able to follow a lot, we're going to try playing each of them individually, right after each other now. So let's start from the very beginning we have a, the obeys read just the open string, no fingers down. Put down at first finger to play me. Put diner significant girls love to play C-sharp number. We don't take off the first finger. Third finger as well, right next to the second one. And now to the unforced anger and all the fingers are on the fingerboard. Began was trying together from Hay and voila. There we have it. So try it out a couple of times. Make sure we're comfortable putting on all the fingers mature. We're putting them how? We're arching them over. And we're always using the tip of the finger to push the string down on you push it down. Nice and well. Again, remember if you don't fully push down the string, it's not gonna sound right? So if it doesn't sound right, and that's because you're probably not pushing enough. Quite enough. Okay. Or you're not using the tip of your finger, it's one or the other. So if you're having a little bit of trouble and make sure those two things are in order. Tip of the finger arching over and it's pushing it all the way down. Okay. And tried it a couple of times and we'll do a little bit of training about it in the next video as well. So I'll see you then. 19. [Training] Using our Fingers on the Violin - Beginner Violin: Alright, it's time for us to exercise a little bit now that we know how to play notes on environment. So let's start again on the E string. And what we're gonna do is we're going to play a, B, C sharp, D, E. So that is a, a with the first finger, a, the second finger, third finger and a would force finger. Alright, only one time for each song. Let's start together. Well, Mozart to the other. One last time just to ensure regatta are effects that we're gonna do something a little bit more challenging. We're going to alternate these notes a little bit. For this one, we're gonna try a, C sharp, B, D, E, which means a, a with the second rigor, a with the first thing or only. So we have to remove the second for different OS1, a with the third finger and an eight with a fourth finger. Okay, so let's try it together. So here, actually let me just play it for you once. So you kinda have an idea how goes and then we can play it together afterwards. So we go a C sharp to the site of Linear B, which is the first year. So we have to remove our second layer, does like that. D, which is the third organism, put down as they can with their finger. And that first failure was due to this E. All right, so let's try that together now. One more time together. While last time together, just to make sure we got it down. Perfect. Now, next one is going to be in descending order. So we're going to start with E and then call back all the way down to c. So we are a, sorry. We're going to start with E, which is a for the d, that is A3, C, or C sharp as a to b, which is A1, and I'm a. Okay, so we're gonna sort of A4, A3, A2, A1, A0, D, C, B, a, o. Some awesome. Now we're gonna try on another string. Let's go to the E string. And let's try. E. And E are the first thing that goes like that, not going to grade you. So a0, the first finger down on the E string. Just like that, show onwards that. Perfect. Now we're going to use the first finger on the E with a string as well. So we're going to do the beginning of an upcoming song that we're going to do just a couple of videos from now, which is twinkle, twinkle little star. The way it goes, if it goes two a's, two 0s, then ELA. We're just gonna start with that for now. And then we'll continue building on it. Alright, so today's two 0s, and then one E1. And E1 is actually F sharp By the way, just so you know, I just referred to it as the E1 just to make it clear that what I mean is the first thing on the E string, okay? But it's actually I've shown already started together. Now let's try the entire intro to the Twinkle, Twinkle Little Star song. The way it goes is a E, F sharp, F sharp E. So today's two 0s to 1s and 0s, okay? Everybody wants for you and I'm going to try to do. All right, let's try it together. A, a, E, F sharp, F sharp key. One more time together. One last time, just make sure we go. Alright, so keep doing these a couple of times. I'm sure one or two of them were probably a little bit more challenging than the other ones. So you can rewind this video, try these exercises one more time and kind of try to get more comfortable with them. Okay? And again, it's a really good idea to give these a couple exercises because we just kinda get into the groove of how we're supposed to play these, how you play these different notes. Howard was to put them fingers. I then make sure we're always putting on tip of these failures were pushing strings down. These are really important. And if you're doing all of that, then we shouldn't be doing fine. 20. Twinkle Twinkle Little Star - Main Theme - Beginner Violin: Alright, I want to congratulate you for getting this far. Now, we're going to play our very first song on the violin. We're going to play Twinkle, Twinkle Little Star on the violin, and we're going to go together. So we just spent a little bit of time trying the beginning of the song. And now we're going to learn the rest of it. Ok, so there is a PDF attached here with the entire, entirety of the music. What we're gonna do right now is we're gonna go through it here together. And you can also use that PDF. You can print it out if you want. And you can use it for practicing on your own time. So let's just take a little bit of time of working on it together. So we already did the beginning part with those AAA, E, F sharp, F sharp. So it went as so. All right, let's try that one more time together just to make sure I remember it's ready. F-sharp, that sharp mu. Alright? Now, the next phrase goes like this. It goes in d, d, c sharp, C sharp, B, b, a, which means third finger on the a. We played twice. Second finger on the a, we play it twice. First finger on the a, we play it twice and then a. So let's try it together. So when we play the third finger on the a string, remember we put all the fingers down before it, including the third thing is that all the fingers offers like a thirt. And again, number second and the third finger are right next to each other. There is no gap between them. There are touching each other. So let's try it with the third thing that we removed the third finger and play the second layer. Move the second finger and play it for a Steiner. And I remove the first finger. Alright, let's try it together now. Ready? When we're done together. Awesome. Now let's attach these two parts together so we can play all of them seamlessly. Okay, so we're going to start from the very beginning, which went blank. And add to that. All right, let's try it together. Ready? One more time together. And as he noticed or to specific notes that are longer, that e i the first phrase, and a at the end of the second phrase. Let me, so let's make sure we played the longer notes for a little longer than the other ones. Okay. So follow me one more time as equate, Twinkle, Twinkle Little Star, or at least the beginning of it. Also. Next phrase goes, E, E, D, D, C sharp, C sharp, B. And we repeat this furries twice. And the song. Now, this is pretty similar to the phrase that we just free it, except it starts on the E and then it goes to D, C sharp, and D. Okay, so let's try it together. So when we go to the east for you, but all the fingers zone or one to three with a whole were not the first one but 123 or though, which are older. Okay, makes sense. And again, we repeat this phase twice. So all morta. And the last phase of the song is the same as the Fripp space member. The first phrase, web work. Yes. That's how Osama case. Hopefully you've been able to follow along. Now what we're gonna do is we're going to put all these phrases together and we're gonna get the entire song. So listen once I'm going to play the entire song, recognize all the different sections that were Play. And then we're going to try them together. Okay. Alright, now let's try it together with me. Okay, Australia rest. Charlie, going all the way through again, the notes should be popping up on the screen is off. But you can also use the PDF if that's easier for you. Rarely getting together. Alright, so that is toggled to Uncle autostart. I encourage you to take some time and practice the song. It's pretty straightforward. We already have done some of these exercises similar to those song. We already know how to put down the fingers. We already know how to play it in their front strings. So it should be pretty straightforward. Just take a little bit of time, make sure you practice it. Make sure you're doing everything correctly. Make sure you're holding the violin, Barbara, the all in a bro, properly and all of that. And I'll see you in the next video. 21. Other Variations - Getting Familiar with Common Rhythms - Beginner Violin: Alright, hopefully you've had a little bit of time to practice twinkle, twinkle little star, and hopefully you've got it down pretty well so far. Now, all we're gonna do is we're gonna take a look at some other variations of the song. So it's pretty much the same notes, is the same fingering, it's same strings. However, the rhythm is a little bit different, okay? So we need to play the same stuff, but with a little bit of different rhythm. And basically, the boat determines the rhythm always right? We use our fingers to turn the tone. And the bow and its movements determines the rhythm. Okay, we're gonna take a look at all these different variations of the song. And so the first 1, first 1 goes kind of like there. So I'll play it once for you. So you kinda have an idea of how it goes them he tried together. Okay. First one goes for shorts and two locks. So short, short, short, short long, long, short short short short long, long, short short short, short long, long, short short, short, short, long, long. That's how it goes. Ok, so on the violin it would sound something like this. So for each node, we need to count for shorts and two logs of the same nodes are displayed as such. Ok, so let's show you the entirety of this variation together. Again, we should know the notes and everything by now, so we're just going to focus on the rhythm only occur together. Yes. Alright, hopefully that made sense. He can take a little bit of time to practice that one as well. If you need to rewind the video, you can do that and see again how the whole thing goes. The entire song is the same. It's just that it's sort of playing each note twice. We play them six times. The first wore shorts, but next to our long, short, short, short, short, long, long, short short short, short long, long, short short, short, short long. And for every note it goes the same way. Okay, so that's the first variation. Now, again. Practice that one if you need to rewind the video. But we're gonna move on to the next variation that we're gonna take a look at all the different variations because there's five of them. And once you've taken a look at all the variations, then you can packs all of them on your own time. The way this one goes is different. So I'll play first and then I'll explain what's going on. Okay. And it keeps going right. Now. You probably noticed I was stopping in the middle of some of those notes. Right. And if you take a look at the notes, you also see some break signs. So what exactly is happening here is that this variation is instructing us to play each note twice, then break for the measure of OneNote, and then played I move one more time, right? So it's almost as if we would have played each node four times, but the third one has been removed and replaced with a PaaS, right? So we'll play one to pause. Bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom. But you see the third one is always the pulse. Instead of having four, if we had just four nodes at each, it would go bom, bom, bom, bom, bom, bom, bom, bom bom, bom, bom, bom, bom, bom, bom, bom, right? But if you take out a third of all of those and replace it with the PaaS, we end up getting bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom, bom. That's where you end up with. And this is exactly what this variation is trying to show us, right? So this is a really great exercise of how breaks coming to music. And you can kind of see for yourself the kind of effect they can leave on music, right? So I know this can be a little confusing, but that's basically the gist of it. So let's try it together. The whole song, whenever you're ready. Now this variation is a little bit different and we don't have any breaks, but we have a warm long routes, v2 short notes. So goes long, short, short, long, short. And we repeat that again for the same time. So we go long, short, short, long, short, short, long, short, short, long, short shorts. Plenty. Everything's six times again. First of all, long, and makes sure that we have long story short again. Okay, so it sounds kind of like this. So hopefully that makes sense. First of all, thanks to short and long. So it goes, again, goes bom, bom, bom, bom, bom dom, dom, dom, dom, dom, dom, dom dom, dom, dom, dom, dom, dom dom, dom, dom, dom wore long two shorts, warlords to shirts. Lets try the whole thing together. Okay. Three along with me. Yes. Now in this variation, we have eight short notes of each of the, each of the notes. Right? Now. The way we do this one is, well, you could just count eight of each of them, but that would be a little tough, right? You have to count 123456781234567812. It's too much counting, right? So what we do instead is we break it down into groups of four. And basically we're playing two groups of four for each loud. So we go 12341234123412341234123412341234. That's how we count. Ok. So you just count on in your head to make sure you don't play an incorrect amount. You don't want to pay seven of nine and the next year of length one, we will make sure you pay each of each of them and they all have to be either. Okay. So I'll play the beginning of a to give you an idea of how it goes. And then we can try to hold things together. Ok, so this is the beginning of this variation. Hopefully that makes sense to groups of four of short notes and all of them for the sender. Okay, now let's try the whole thing together. They're so pretty long, risky. Tried to count to two sets of four for each of the nodes in Europe. 22. [Reading Music] Notes - Beginner Violin: In this video, we're gonna learn how to read music. Now, if you don't know how to read music already, this is a very important video and I encourage you to pay extra attention, maybe take some notes because we're about to learn a whole lot. But if you do already know how to read music, you probably skip ahead. And you don't really have to watch this. But anyways, with that said, let's get right into it. And we're going to start with this guy right over here. So this is what we call a treble clef. Now, what is a treble clef? Basically, clefs are what determine what everything else means on these five lines. Ok, so anything you see on these five lines, they don't necessarily mean the same thing everywhere. And we have to use the cleft that has been given to us as something that basically contextualizes all the information that we get on these five lines. Ok? So if we have the treble clef at the start of our lines, that means a very specific thing about what everything means on these lines. Okay? Now there are three main clefs in music. But really, we only really deal with the treble clef as violin players because violin is in a very high register, and the other two cliffs are in lower registers. So for example, a viola or cello, which are instruments that are in a lower register, those instruments would be using the other clefs, but a violin really on the users, the, the main treble clef. So we really don't have to worry about the other ones. And we're just gonna focus on the treble clef for now. Now. Note that we see on these five lines. Let's say this one right here. Alright, so how do we determine what it is? We usually determine, or basically we always determined what each node means by its position. Alright, so for example, look at this guy. It's located between the second line and the third line. It's between them. It's not on either of them. And given the fact that we have a treble clef, this means that this guy is an a. Ok. Now, notes can be located either between these lines or on these lines. Okay. And in fact, that's the order that they work in. We always have in alternating sequence of one is on the line, next one is between the lines. Thanks, one is on the line and X1 is between the lines. Next one is on the line, X1 is between the lines. And I've usually found this to be the most confusing thing about music for beginners, especially for younger students. The fact that we alternate, Okay, so just hopefully you can grasp that right away. The way it works is the way it works is go Here, we go, Here, we go, here, we go here. And again on the lines, one between the lines, one on the lines between lines. Okay. So and that's the order that they're working. Okay. Now, understanding that let's talk about what exactly each of these nodes are, okay, so the main notes in music, C, D, E, F, G, a, B, right? These are the seven notes that we have in music. Now, you might be wondering, is that it, what happens after b? We just have nothing. Well, the music has a cyclical, cyclical nature to it. So every time we want out of the seven nodes, we just take the first one I pointed back here, right? And then we just keep going the same way. And once we run out one more time, the exact same thing we go to the first one. Keep going. So there's a cyclical nature to it. Now, it's very important that we don't confuse this as the same thing. These two are not the exact same thing, right? So they are the same nodes. They're both C. But this isn't a higher pitched version of a C, right? There's a higher pitch version, and this is an even higher pitched version than the one before. Ok? So basically, as the pitch goes up, we end up with these cyclical natures of finding the same note with a higher pitch over and over again. But at the end they, it's a higher pitch diversion of that node. So it's not exactly the same number, okay, so it's very important that we don't confuse that. Now, let's go through exactly how we see these on the five lines over the sky. Get rid of all of these here. And let's try over here. So again, let me just put this here as well for you. C, D, E, F, G, a, B. And we're going to start at the very bottom here. So this node at the bottom, right below the first line is D. And this is actually, let's learn that right away and make sure that we basically this in our memory and we just lock it away. And we always have it at our disposal. Okay, so anytime we see the node at the very bottom of these five lines, I want you to immediately know it's D. Okay? So that's the first thing we're going to learn today. And using this information, we should be usually able to, able to determine what every other note around it is. Okay, so let's say we denote that as on the first line, right? Well, you can kind of work out say, well, I know this guy is d. So if this one is on the first line, that's one after d. So it must be, you guessed it must be. Now the next one. It's one after a, e. So what is that one? You guess that it's f x one is a G. This wasn't a, and this is probably another one that's really good to memorize right away. Because obviously we have an open a string. So if we're going to find a lot, especially in these beginners stages. So it's very important that we learn this right away. So we had this over here as well. A is between the second line and the third line. Okay? So anytime you see a node between the second, the third law, I'm wanting you to immediately know it's a C it's between the second and the third goal. A. Okay, so that's the second one that's really important for us to learn that again, we can use just knowing these two should help us get to know every note around them, right? So if we see the note that is on the third line, well, if we know that this guy is a, we can just tell all it must be won after a, which is the next note is a, C. One is D. Over here we have E. Obviously that's another open strings on the violin. So that's another good one to memorize. Between the fourth and the fifth line, we have e, which is our open E string. And over here we have F, And over here we have G. Okay? Now, you might notice that we run out of lines. So what do we do at this point? Well, here's what we do. Let's say we wanted to play a note before the one, play the C that comes right before deep. Well, how do we show that on here? What we do is we usually, what we do is we use kind of a small little six line, if you will, that we add, and then we'll just add C on top of it, right? So it's almost as if we had a sixth line right below the main five lines. And we just put the c on top of that. Ok, hopefully you can see this. But I sort of just drawing the whole line out. We just small little thing over there. And then we'll put C on top of it. So that is C. And then we use the same technique for creating B. We'll just put it below that line. And we can even add a second one if you want to show a. And then that's G. Okay? Now, this is the lowest note that we have on the violin. Okay? So basically what that means is that we don't have to worry about any notes that are lower than this. Ok, so as far as we're concerned, this is the lowest note that we have to deal with. Ok? So maybe it's not a bad idea to go and just want to, and obviously this is our fourth open string. This is g. Again, the lowest note that we can possibly play on the violin. Now, moving on over here, we can use the same tactic over here, where we put this small little sixth line, if you will. And then we just put an excellent, which is an a on top of that, that's a. That one is B. And this is going to be the highest note that we are going to play for now on development. Now, this is not the highest load that's possible on the violin. We can play higher notes and we usually do play higher notes at the more advanced level. But we're just gonna say highest note for now because for the foreseeable future and for all beginners, as far as we're concerned so far, this is the highest one will have to deal with, okay? And anything higher than that, let's say this node right here, that guy, we don't have to deal with that until we get to a more advanced level, okay, so don't even worry about that. And the fact that that exists. As far as you're concerned, this is the range that we have to deal with. So with G at the bottom, that's the lowest one that we can possibly on the violin. And the b up top over here. That's the highest one that we're going to be playing for the foreseeable future. Now, again, as we mentioned, you might notice that we have the same notes reoccurring multiple times. So for example, we have a C over here. We have another C over here. Alright? And we discussed about the cyclical nature. And the way we refer to it in music is by calling it an octave. So for those of you who have taken chemistry courses, you know that octa is a prefix for eight. So an octave basically means the eighth note, eighth consecutive notes, alright? Or the sequence of eight consecutive notes. Okay, that's also referred to as an octave. Okay? So we can say this specific octave or we can say Disk C is an octave higher than this C, okay? Which basically means pits in eighth compared to this c. Alright? Now, if we could also use more than one octave if we choose to. So for example, let's take a look at the a right here. We have a, we have another a, and then we have another a over here. Let me just erase this out of our way. We have another a over here. So we can say that this guy is two octaves ahead of this guy, okay? Because there's obviously one octave here, and then another octave here. Okay? And again, we're going to talk about octaves more in depth in upcoming video, but for now, just understand what they are and how we use them in our language basically. Now there's obviously more to notes then just what they are. So for example, this right here. This note tells me what noted as so we know it see. But it also tells me how long am I supposed to play it? How loud am I supposed to play it? Or they, are there any qualitative qualities to it? So for example, is it supposed to be played intensely? Is it supposed to be playing softly? And yada, yada, yada. Okay, so there's a lot more information that we get from notes, but we're going to talk about all of those in an upcoming video. For this video, we're just going to focus on how we determine what each node is based on its position, ok, and for that, it's very important for us to start learning this range. Specifically, these couple of notes. This guy right here, the G, that's our first open string, d, right below the first line. That's our second open string. A. Between the second and the third line, that's our third openness drink. And e, between the fourth and the fifth line, that's our fourth open string. Okay, so it's very important that we at least learn these guys. And anytime we see any of them on, on these lines, we can immediately tell plume. That's a, that's D, that's E. Okay? It's very important because once we learned those, that actually helps us out a lot to be able to learn the other ones. Because like we talked about, right? If we see this guy and we know that this is E, then we can just go, oh, then this must be F, right? And that, that helps us out a lot. Ok, so go over the video one more time if you have to. If there's any part that's a little confusing and you watch it again. Feel free to ask me questions too unhappy to help out if you're confused about any specific parts. But it's basically very important for us to learn how to read music very properly. Because obviously going forward, anytime we play anything on the violin, we're gonna be reading music and we were going to need to be able to read music, right? So if we're not able to do it, we're going to struggle. So make sure you understand everything that we talked about. And I'll see you next video. 23. [Reading Music] Length of Notes - Beginner Violin: Alright, so in this lesson we're going to learn how long each node is supposed to last. So in the previous lesson, we learned what each node is. So for example, this right here, we know it's a. This right here is D, and so on and so forth, right? But you got to also know that every single note has another component, which is basically its rhythm, right? So if you have C, doesn't see node right here, that's a sea because of its position. But we also know that that is supposed to be one beat long. And I'll explain what that means just in just 1 second. But I just want to point out that that's basically there are two pieces of information that we get from each single note. We don't just get the information of what noted is well, we also get the information of how long it's supposed to last. Now, what is a beat? Let's just start with that. Let's start with the basics. What is a beat? So basically, wherever you're listening to any song, sometimes you might find yourself tapping your feet to that song or clapping along with that song. That, that duration of each of your clubs or taps if your feet is what we call a beat. So that's not a book definition for it, but that's the best way for most beginners to conceptualize what a Beatles, right? So it's basically every time you tap your feet to the music, or every time you clap along with the music that has one beat. So it's the smallest measure, smallest measure of time in each song. Right? Now. The way we use B is two. It's basically like a meter stick. So we have something to compare every single note to it. So let's say we have a song here where our first node as opposed to last, twice, as long as the second note and half as long as the third note. What we can do is we can say, OK, so we'll just put the first one as one beat. The second one, which was supposed to be half as long. We'll just make that half a beat. And then the third one, which is supposed to be double the length. We'll make that two beats. And so basically that's what we use the beat for. It's basically our smallest measure that we can use in order to have something to compare to notes to each other as far as how long they are. And now knowing that, let's get right into how we actually do that. There are different types of there are different ways of writing outs. So when you're writing a, if you just write it the standard way, which is a black node and only lasts one V. That's the information that we're getting from that. Now, if you write white notes, basically the same exact formation. It's just that instead, instead of having a filled out circle, we have an empty circle. That means it's tweets. If we get this thing right here, so it's a white circle. But it has no stem, right? So there is no stem here. There's nothing here. We don't have this thing basically is what I'm trying to say. Well, we don't have a stem. That means it lasts four beats. So these are the most important ones to know. Now, what if we wanna go below on beat? One? If we want to play something that is half as long as this, this thing right here. Alright, so what we can do is we can add tails to the stem. So here's the note, Here's the stamp, and this is what we call a tail. Alright, so something that we add onto this arm. So this is the stem. Let me show that to show you that one time. And it's the stem. We can add this thing called a tail. And what that does is it tells us, for every tale that you see, have the length of the notes, right? So if you see one tail right here, so we have one tail right here, right? That means that take the one beat and then divide by two and you get half a beat. Alright? Now if we had two tails right here, so if we had this thing, but we had a second tail right there. And so we have two-tails over here. What does that mean? That means take this take this which was which would have been one meets if we didn't have a tail and divided by the two tails. So instead of dividing by two, we divide it by four. So we get 1 fourth the beat. Alphago, you'll fall. You're following along with the math. It's nothing confusing, but that's basically how it goes. So every time we add a tail, we go, we have the length of the note. So if we have three tails, that is eight feet, if we have four tails, that is a 16th of a beat, and so on and so forth. Right? Now. That's how the beats work. However, that's not how we refer to the notes. Okay, so I just wanted you to have a concept of how the beat is supposed to go. And of course, the, this black one right here is what represents one beat. However, that's how we refer to them, right? So it's very important to know that the beat is not the same as this, as the name of these notes. Okay, so we go the other way around. So let's start from the big, biggest one in naming them. These were all of the ones that we learned and now as one and so forth, right? So that was four beats. That was two beats. One beats, half a beat and a quarter of a beat right? Now, in naming them, we don't name them according to their beats. We just name them according to their relation to the biggest note that we have, which is this one. Right? Now, this note is what we call a whole notes or whole tone. Either one works. Go hold on for a whole tone is the longest note that we have, and that is four beats, right? The next one? Well, this one is two beats, which is half of the original one that we have. So we call that a half tone, or a half, a half note, either one. Now this next one is a quarter of our original, original one. So this one is going to be a quarter beat, or sorry, a quarter note. Again, it's really important to not give his, I just confusing myself. It's very important to not confuse the beat with the note. Okay, these two names are very different. This is referring to how long the note last. This is referring to how big the note is compared to our biggest. Ok. I hope that makes sense. Now we keep this going. So in naming them, and this is the name of these nodes. These are the bit value of these notes. This next one right here is going to be again, that's half of the one beat, one that we have over here. And of course the quarter note was a quarter of this. So this one is going to be an eighth note. And of course this is 16th notes and so on and so forth. Okay? So again, I know that can be really confusing because we refer to this guy has a 16th note, but this guy is a quarter of a beat along. Alright, so the name is 16th notes, which means it's a quarter of a beat. And that can be kinda confusing because I'm not really sure widened aiming is different than the beats. It would have just made more sense to just refer to them as the same as their beat value. But that's just not how we do it, so you just have to get used to it. So anytime we referred to a 16th note, that's where the nodes that lasts for a quarter of a beat. All right, and then one last thing before we move on actually is I want to introduce the concept of a dot. So if we have a dot right next to anode, alright, so let's say this one right here. What this dot is doing is it's creating a different length for us. So basically, if you notice right here, we have a one beat note. We have a two beat note, but we don't have a 3-bit node, right? So where's this 3-bit? How do we represent that? Or how do we represent, let's say, right in the middle of this 78.75. While the way you can do it is with the dot. So every time you have the dot, that means take whatever beat value this has, add half of it to it to itself. So add half. So what does that mean? So for example, this right here, this thing would have been one beat if we didn't have the dot, but we have the dot. So that means we have to add a half of its value to itself. Half of one. One beat is just half, right? So that's one plus. We have 1.5 b. So this guy right here is a 1.5 beat note. Let me clear this up a little bit so we can write a little bit more. Well, other sky. Now, this guy, as we have the four, It was two weeks long and this is a little unclear. Let me just clear that up for you. There we go. So this was to be Zhong because it's a white one with a stem. So two beats. And we have the dot over here. So plus half of its value, which is two. Which is two plus one equals three. Choose three beats long. This guy is three beats long. And same thing with all the other ones. So if we add, if we add a dot to the half p, we get 0.75. If we add a dot to this guy, we get 0.25 plus 0.1 to five, whatever that is, and so on and so forth. So every time we add a dot, we basically add half of it's own value back onto itself. And that's all you need to know about how rhythms work. I know some of this might be a little confusing, so there's going to be a lot of practice that I will be including following this lecture. So I, and I definitely recommend you take the time and do all of them because this kinda looks confusing and it does get even more confusing as we go on. So it's very important that we understand exactly what's going on here from the very beginning. And if you just spend a little bit at a time, it actually clears it up quite a bit. And after a while you just kind of get used to how this structure works. It's not really as confusing as it might look at. First sight is how I would put it. So definitely do the exercises. And we're going to have some discussions about how algorithms work in general. But in order to do that, we first need to make sure we know exactly what's going on here with all these beat values. Okay? So take the time, do the exercises, and I will see you in the next lecture. 24. [Reading Music] Key Signature + Scales - Beginner Violin: Alright, so in the previous lessons, we learned how to read notes. So now anytime we see a note, we know exactly what it is. So we know this is a, and we also know how long it lasts. So this is one beat shrines a quarter note gets one beat lump, right? So the next thing that we're going to move on and learn is how to read the key signature. So we already talked about this, right? This, this thing right here. Let me just erase this. This thing right here is what we call the treble clef. And on the treble clef, we know how to read the notes and what each node means. But there's some other stuff that happens in this area too. So it's not just a troubled cough that we see at the beginning of every lie. We're also going to see some other stuff. So let's just start with the key signature. But before we get into that, let's start with some basics. So if you know what sharps and flats are, you can probably skip forward a little bit, but if you've never seen these symbols before or you don't know what they mean. Basically, anytime I haven't note, let's say, let's go with a. Alright, this is a. The next note, which is b. This is a whole tone separated. All right, so there is basically entire tone difference. As we go from a to B, there is one whole tone difference, right? So we go up entire tone from this sound to get this set. Okay? Now, the thing is, there is something right there in the middle. And that's what we call a half tone. So this sound right there in the middle is what we can refer to as either a sharp or B flat. And it's more commonly referred to as B flat fee rarely see a sharp. And we'll talk about why that is in a second. But for now, let's just focus on what is exactly happening here. So basically a sharp means. Let's write this down here. Sharp means go up a half tone. And the flat means go down a half tone, right? So B flat is pretty much the same as B. That has gone down. The halftime, which we could also say it is the same as between a and B. Alright, so right down the middle. So if you want to write every single sound that we can produce here, between a and B, we have a, we have B flat, E flat, and then B. Alright, so that's every single sound that we have here. B flat, and then we have v. And for some instances we use sharpest. That's, for example, let's say we want to see what is between c and d, right? So between these two, we have C-sharp right here. So I get C-sharp means C gone higher. And half tone, which is the same as saying, sound. Between c and d. Right? Now there is an order to sharps and flats, and that is the reason why sometimes we refer to this middle point as a flat, as sometimes we referred to it as a sharp. For example, we have between C and D, we referred to a C sharp, between a and B, refer to it as B flat is sort of referring to it as a sharp. And the reason for that is because they have a specific order that they go into. So I'll just go through the order. So the order of the sharps is F, C, G, D, a, E, B. Alright? Now, this might look a little confusing. It might be like Wait, whereas order coming from. So to better help you understand this, let's take a look at the notes themselves. So we have C, D, E, F, G, a, B. These are the nodes, right? Well, the way it works is C, D, G, sorry, F, C, G, D, a, E, B. That's how it works. Basically, the order of sharps starts from the middle, the middle node, and the first one, and the next one, the next one, and the next one, the next one. That's the order of the sharps or the flats, is the exact opposite. So if you go the other way, it's the order of flats, B, E, a, D, G, C, F. Now I understand this might be a little confusing. You're probably wondering, what do you mean by order of the sharps and flats? Well, this is basically a ranking system that we use. And this basically means how whether this, each of these nodes for leans more towards a short or leans more towards a flat. So if it leans more towards a flat, We start with from that side. So for example, if you want to find, what do we have between a and B? Well, B is in the first position as far as flats are concerned, but it's in the last position as far as shops or so. So it has to be real fat if that makes sense. Now, let's take a look at C, For example, which we had down here. C is in the second position here, alright? Whereas on the flats, it's one Right before the n, So it's the penultimate position over here. Which means that c, between C and D, we have C-sharp out. That makes sense. Also this, this order used for something else as well. And that is for the scales. So the scale's always have a specific key signature. And these key signatures usually follow these orders, or will they always follow these orders? I should add. Now, what do we mean by that? So let's say we're playing a song, I'll discuss are from very basic and then we'll get complicated as things go on. So don't worry, we'll get to the complicated stuff later on. Is that you've got all that definition down. I'm just going to clear it off. So we're going to work with perfect. Alright, let's say we're playing this up, right? We have whatever, right? And we notice as we're playing the song or as we write in the song, if you will. We want all of our efforts to be sharp, for example, when F sharp here, so we could identify it by just putting a sharp symbol right beside it. This that we have, that this again, right? So instead of doing that, we could just take all of these out. Let's put a sharp at the very beginning right next to the treble clef. And that is what we refer to as the key signature. So the key signature is basically all the stuff that we have upfront that says, Okay, for the entire song, we want, for example, the f to be sharp. And that when we put it at the beginning over here, that means that it is going to be sharp for the entire song, right? Until we get to a point where let's say, we say, Okay, from this point on, we don't wanna do that, right? And then there is nothing here, for example, that from that point on you don't have to do it. Or basically the f is no longer sharpen. It's only natural. And it's actually, this is a good time to learn another symbol. So this was sharp, this was flat. This symbol is natural. And natural basically means it's not sharp or flat, right? It's just, it's just a normal note reusable. So the two ways that we've changed this as for example, we say it's always sharp, the f is always sharp because it's been identified at the very beginning of the song. However, let's say right over here, I want to have an F-Natural, right? So in order to do that, we just put a national center next to it. And then all the other f's are sharp, is just that this one that we have identified as a natural is not true. Okay, so that's one way to do it. Another way is to just at some point in the song, just save, OK, we no longer want the FTP showed wheat. Now we want the B2B flat from this point. And this point on. We don't have an F-Sharp anymore, so no more F-sharp. Which means from this point onwards, anytime you have an F, It's an actual. Now if you want to have another sharp, you could just put a sharp sign next. That's, I hope it does. Alright, so this is a little bit confusing. I can totally understand that, but it shouldn't be that bad. It's just what we need to do is memorize the order of the sharps and flats. And again, we'll delve more into what exactly these things do later on. But for now, let's just learn the order. And again, if you ever forget, you can just write the notes down. Let's go through this one more time. From the nose down. And you just go from for the order of the sharps, you go from the middle. First next one, next one, next one, next one, next one. And for the flats you do the opposite. You go for the last one, the one before the middle, 11 before 1.2.4. Wonderful bumper for one before. And that's how we find the order of the sharps and flats. And that is exclusively on order that they're allowed to be used at the beginning of the song. So anytime we have a key signature, lets say we have some stuff over here. Alright? They can only be used in these orders. Okay, so for example, what do I mean by that? So we cannot have, let's say, the C sharp at the beginning of a key signature. The reason for that is because if C needs to be sharp for the entire song, then F has also, does also have to be sharp for the entire song, right? That's how it works with the skills and everything. Because if c is sharp, then it just does not make sense. If F is not sharp, it just sequentially, the notes would not work out. And again, I understand that's a little complicated and you're probably wondering why that is. Again, we have to delve into that, allow more. So I just suggest not to worry about it for now. Just learn that that is how it works. Ok? So anytime we want to have, see and keep in mind this is not to say you can't just have a random C in the middle of a song be shot. That's okay. But when we want to put it at the beginning of the song as a key signature that is applied throughout the song. It has to be coming in this order because otherwise, the majority of sound is going to sound awkward. And basing, those are the principles of the music and a lot of theory goes behind that. That is very complicated. So, which is why I don't want to delve into too much. So I just want you to understand the very basics of it, okay, so this is exclusively the order that they can happen. Because otherwise the sequences of the nodes and all the tones and half-tones, They just don't add up to a pleasant sound basically. So let's say we want to have a key signature that has G as a sharp, then we need to include all of that. So we need to include F, C, and G. If you want to have G, we have to have all of it before as well. And the same goes for flats. So if you want to have, let's say, a key signature that has a as a flattened there. And we have to have all of this, all of these, we have B, E, and we have a. And as you notice, that's the order it goes through just the same way where we said, look, when you go through the notes, we go middle, boom, boom, boom, boom, boom, boom. Number that order 1234567. That's how we represent it too. So let's say if we want to have all the sharps here, let's say we have a song that has all seven notes as sharps. The order we go to kinda looks similar to this. If you look right here. And it goes F, C, E, D, a. And for flats B, E, a, D, G, C, and F. So again, it kinda looks similar, right? And it goes and middle, and middle and middle, right? You can kinda see it visually, right? So that's pretty much all you need to know about. The key signature. Again, I know it's not the easiest stuff, but it shouldn't be that bad. It should be pretty simple if we don't worry too much about how exactly this works and why exactly this ordering is happening. It's pretty simple stuff and you'll have to worry about any of that. You can just memorize the ordering. So I highly recommend you memorize this. Let me just rewrite it for you one more time, a little bit more clear. The order of the sharps are F, C, G, D, a, E, B. And the order of the flats is the opposite. B, E, a, D, G, C, F. 25. [Reading Music] Time Stamps - Beginner Violin: Alright, now it's time to talk about the timestamps. So other than the key signature radio, we have something else at the very beginning and that is the timestamps and we'll, we're going to talk about that in a second. But first, let's talk about this. So when we see music, we usually have something like this. So we have, let's say some notes here. We have this. And by the way, this is also something that I wanted to mention to you. So anytime you have a note that is located on the third or line or higher, the stem is always downwards. But if the note is below the third line, this line right here, and if it's below that, then the state has to be awkward, ok. And just so it doesn't look too messy, but that's beside the point. Let's go back into what we're talking about. So let's say we have this and then we usually see something like this over here, kind of like a divider. And then we have some other notes. Say that. And this, and I have another divider, right? So what does this divider thing? So this divider is basically showing us what we call them measure. Now what does it measure? A measure is basically a grouping of notes that identifies how the rhythm of the song is supposed to be sequenced, right? So it's basically the smallest sequence of notes that you can see, a form of repetition of the song. Now, I know that sounds a little vague. That's because it is a little vague. Different people use measures differently. But as, as you play some songs, you would, you're kinda start to pick up on what exactly we mean by these sequences that we call measures basically. And another good thing about the measure is that it's a very good way to communicate which part of song we're talking about. So for example, this is going to be the first measure, is going to be the second one. Let's say we have some other nodes here. And that's going to be the third measure. And what usually composers do is they always put the name of the first measure of each line at the beginning of the class. So because we have 123 measures here, we're going to put a small little number four up top. And this is always in an every piece of music. And it's used to communicate exactly which part of music we're talking about. I guess that's another positive of Minnesota. We have some other stuff here. Alright, and then blah, blah, blah, blah, blah, blah. Right there. We're going to have a seven up top, right? Because we had 123456 and this will be our seven. Alright? So that's what measures we use right now. What is the time signal, the time signature? Well, if you take a look, and as we talked about oxidase, it wants that the measure is basically a sequence of notes, right? And in order for it to be repeated, it has to be the same length. It can't be a different length every time, right? So basically as you can see here, we have four quarter notes. Quarter notes. And as we discussed earlier, each quarter note is one beat, right? So we basically have four beats in each of our measures and the same applies over here. Again, four beats. Again, we have four beats. So what that tells us is that this is a 4444 means that we're breaking down our our measures four bits at a time, right? So the top, the top number here tells us how many beats there are in each measure. And the bottom number tells us how we are dividing our whole note. Alright, so let's talk a little bit more specifically about what that means. Before we talk exactly about what that means, let's also see another example. So this is a different one. And as you can see, we have three beats in each of these. Now, I want you to try and guess what is going to be our timestep over here. You can pause the video if you want to guess. All right, so guest 34, you are correct because again, the top number is the number of beats. And the bottom number is this weird number that we don't really know what it means, but it basically is the whole notes divider. Alright, so we'll talk about that a little bit, but for now, I hope you understand what exactly is happening. So anytime we see 34, that basically tells us each measure is going to have three beats in it, which is the same as saying, you know, we have three quarter notes in each measure. Now, that doesn't necessarily mean that it has to be three quarter notes. It just means that it has to be three beats in total. So it could be something like this. Alright, that is still three beats because it's a half beat over here. Another half beats. A two beat, that adds up to three. Ok, so that's totally fine to Now let's talk about the bottom number a little bit. So the bottom number is basically saying how we're dividing a whole tone. So if you remember, if you remember, we had this thing, which was the whole tone. And we divided that into four. And that was four beats, if you remember. Divided that into four quarter notes. For each of them will one beat. All right? So basically r one beat is determined by taking that biggest note that we have and breaking it down to four. Right? Now, there are some times when that's not what we're gonna do. Sometimes we're gonna take that big note and break it down to two instead. What do I mean by that? So instead of making four quarter notes and have that BS1 beat, sometimes what happens and this is not as common, so you have to worry about it too much. I'm just explaining it to so you understand what are the different implications of this? Sometimes we're going to break this down into two. So we're going to have something like this. It's actually come down here. Let's bring it over here. We can have these VR1 beat. So generally this is not the case. Generally the white ones are always a two beat note and they're all always a half node. But sometimes you want are half turn to be our smallest speed. And in those cases, we put a two at the bottom, right? So for example, we, that's what we call cut time. A cut time as a to-to basically means that each of these whites is considered one vt. Again, this is an exception to the rule. This is not going to always be the case. I'm just showing you a different application, right? So anytime you see a four at the bottom, what that basically is telling you is that each of these is one beat. And the 3-4 tells you you have three beats per measure. Alright? So it's not too important that we understand what the bottom number mean because most of the time, at least for now, it's going to be four. Okay. And it's always going to be, well, we have sometimes the future, we're gonna see stuff like, let's say something like that or maybe a cock time. But for the most part it's going to be for everybody. So you'll have to worry about that too much. Now let's talk a little bit about some symbols that you might see instead of the timestamps. So remember how we talked about for, for basically means four beats per measure. Another way to represent 44 is this symbol right here. This also means 44. Ok, so basically if at the beginning of a song, you know, you see this, that is basically telling you we have a key signature that hasn't F-sharp. But also we have a 44. Ok. So I know this might be a little confusing, but that's what I remember. We were talking about that to two, which is called a type. The symbol for that one is something similar. It's like that. So it's basically a cut for four. So instead of a 4444 that's been sliced into two to make Tutu. Okay. But again, you don't want to worry about that too much. You're not gonna see 2-2 until much later on in your career. But for now, let's just focus on the 4434 that those were probably the most common timestamps that you'll see for the foreseeable future. So just know what these mean. For four means. Four beats per measure. And three for three beats per measure. 26. [Reading Music] Dynamics Part 1 - Beginner Violin: Today we're gonna discuss what dynamics or dynamics referred to the way we play notes. So let's say we have some notes right here. We have the C, B. Now, we have no information of how we're supposed to play these notes. Alright, so are you supposed to pay them loud? Are we supposed to play them soft? We have no information about that, right? So that's where dynamics come in. Dynamics are basically indications that tell us if we play something a little bit louder or if you play a little bit softer, Alright, so for example, this is what is referred to as 40. And that means that we're supposed to play loud. Okay, so let's break down what all the different dynamics are. And we're going to start with the static ones, the ones that don't change. So if you see it, for example, if you see a forte, that means play as loud as you possibly can until we see a different dynamic. Okay? So the ones that we know are forte, forte mezzo, piano, piano. Okay, and there's a couple other ones that we'll talk about in just second but less so with these 4 first, because these are the main for now you're going to see most often. So we have 40, which we just discussed means play loud and pretty much in a bombastic manner so that we produce as much sound as possible as if to fill an entire Concert Hall. And we have mezzo-forte, which is a bit softer than 40. Okay. But still loud. Okay, so It's very important that we don't confuse mezzo-forte with mezzo piano because they are kind of close to each other and they're kind of similar. But the main differences that mezzo forte is, as the name suggests, it's much closer to four tech and mezzo piano we're gonna discuss in a second. It's going to be much closer to piano, OK. But basically metal for ten minutes, a piano. These two are kind of a middle ground between forte, loud and piano, which means soft, okay, and we're gonna talk about piano Just 1 second. But basically, anytime you see mezzo-forte, what is really important is that we make sure we don't play as loud as we would as if we're playing forte. Simply because we need there to be some kind of a distinction between our 14 on mezzo-forte. Like if we play super loud on mezzo-forte them, we have no room to make it louder when we see a 14 on another note, right? So it's very important that we kind of get an idea of how we're supposed to play these dynamics. I will talk about this a little bit more when we get to dynamics in songs, okay, but for now I just have this general idea that anytime you see 14, that means you're supposed to play it loud. There is C mezzo-forte, that means louder, but not quite as loud as forte, so little bit softer than that. Okay, next up, let's talk about piano first, and then we'll talk about that. So piano, piano. As we discussed, it means play softer. Right? Now with piano. It's very important that we don't confuse this with muting the sound if you will. There is a little bit of difference when we say soft, what we're referring to is we basically still hear the music, but it's just softer, right? It has less impact. But it's still like you can still feel the beat if that makes sense, right? And think about all the times that you're listening to music and it gets softer, you can still hear what's going on right now. It's not like we're muting the sound. It's more than we're making it softer and much more gentler, right? So that we basically make a huge difference between when we play the notes with piano and play note, let's say with foretell mezzo-forte, right? We want to make sure we're much softer and I'll, I'll try speaking as if we have a piano. So let's say, I supposed to speak like this, I will just go, wow, this is piano. And now as you notice, as I was speaking in piano, that my consonants are still popping, right? So that's another key differences that not everything is soft. Basically, we want the main idea behind music to be softer. But we still want to hear the beat, we still want to feel the beat. We still want to feel that music. So we still have the same intensity, I think is the best word to describe this width. So we don't lose our intensity. And are transitions between the nodes are still very impactful. It's just that when we're playing those notes specially if they are more elongated, they are much softer. Okay? Again, we'll see this in practice in the future. I just want you to have a general idea for now. And of course, last but not least, mezzo piano means we just slowly over here, so it's a little bit easier to see. That's a piano means soft, but not as soft. Piano. Alright. So hopefully that makes sense. Now. That's all talking about the other stuff because there's a couple of other things. So we had forte. We had mezzo-forte, meant to piano. Piano. Right? Now. We have another level, even louder than 14. That's fortissimo or double forte if you want, if you want to refer to his lab. And we also have pianissimo. Now, as you probably guessed, this just means louder. And let's go over here means softer. And now we have for the ECE CMOs and can't see signals as well. But you don't really usually CEO, so don't worry about those too much. This is what we focus on mostly. Ok. So these are more of the static dynamics that we encounter. There are some other different dynamics that we'll talk about in the next video. But these are the more important ones. Okay, so let's go through them one more time just to make sure we understood everything. We have fortissimo, the super-duper, loud, super bombastic, just play your heart out, kind of a dynamic. We have 40, which means loud. And just go for it by all means. Obviously not as loud as 40 fortissimo, but it is still super-duper loud, right? So basically you're just playing in a lot of possible on the web. Mezzo forte is loud but not quite as low as 14. And good indication is that mezzo-forte is usually what you play when you're not thinking about dynamics, right? So if you just pick up your violin and start playing whatever you're playing. And you don't really think about the dynamics or how loud you're playing. Usually you're playing somewhere around that. So 40. Okay. So hopefully that's a good indication of how loud for dish should be. So photos should be basically louder than you would play if you were just not thinking about dynamics. Fortissimo, obviously the other, not even mezzo piano is likely softer than the way you would normally play. Okay, so mezzo piano means soft, but not quite as sofas, piano. We still leave some room for piano to be the absolute softest. Well, not the absolutes off this I guess, because we have pianissimo, but basically, we just want to make sure that there is some room for piano to be even softer than mezzo piano. And again, mezzo piano is little bit softer than the way you normally play when you're not thinking about dynamics. And then piano is just super soft, Okay? So it's soft but it's still not losing the intensity. Kinda like every talk like the consonants that up sake, right? Yes, much softer. I can feel the difference. And when I slowly raise my voice, I'm probably getting into it mezzo-forte category. And then we can probably even goal and push it higher and get to forte, Right? So basically, that's the way this range works. And of course, pianissimo means super-duper, Soft. Alright, so basically probably as soft as you possibly can without losing all the intensity of the music. Okay, so hopefully that makes sense. We'll talk about the other types of dynamics in the next video. But for now, just take a second, make sure you understood everything. Just review it when once or twice, because again, these are very important and these are important to know going forward. I'll see you in the next video. 27. [Reading Music] Dynamics Part 2 - Beginner Violin: In this video, we're gonna talk about fluid dynamics. So we just discussed the main dynamics for payments of 14 mezzo piano, piano. Now, these were, as we talked about, there were static, right? So not static. Meaning that the music is static. Static and meaning that the dynamic doesn't change. Alright? So once we have forte, we're gonna play everything forte 40-44, until we see something else, right? Until we see, let's say mezzo piano over here. Until then everything is going to be 40 until we get to that point, right? So there is no change in the dynamics. Now let's talk about what the other types of dynamics that do change over time. Alright, so the main two are crescendo and decrescendo. Okay, so what are these guys? Let's say we have some notes here. So we have E, D, C, B, a, G. Right? So nothing too crazy, just real simple notes. And then we have a crescendo here. Alright, so what does that mean? So crescendo basically means that gets louder overtime. So let me write this here for you. Let's put this over here. So crescendo means get louder over time. And the crescendo means, as you probably guessed, it gets softer overtime, right? So basically they don't give you a starting point. Usually, you just start with whatever dynamic who we're in right now or the rule just give you another starting point. Let's say they will put, they want you to start from piano and go all the way up. So they will give you a piano and then they would crescendo. Or they could just put crescendo here and say whatever the dynamic was before this. Just keep that going and then get louder overtime. Now, there are different ways to represent crescendo. Usually it's a lot more visually pleasing to show it with this kind of notation. It's just, it's a lot easier for the player to see it and recognize it immediately. Whereas if you have to like read these five letters and be like, oh yeah, crescendo, right? Just, this is much more impactful, right? As soon as you see it, you know exactly what's going on. Obviously, you'll get used to this notation to over time. But usually I thank you, especially for beginners and just use these notations because it's just easier to recognize. Alright, so this is what we use for a crescendo. And this is what we use for decrescendo, right? And why we're using this kind of notation. We also get some more information because we only are supposed to keep the crescendo going as long as this is the split. So let's say the notation was like that's right. So as we see, it covers. This area, right? So it covers these notes. And it does not cover these two, right? So what does that mean? That basically means that key to crescendo going for these six nodes. And after that, whatever, whatever you arrive at, whatever dynamic you arrive at, just keep that constant. Okay? So if we don't have this kind of notation, obviously we don't know where we're supposed to answer. We're just keep going until we see a dynamic change. But if we do have this kind of notation, then we know exactly when we're supposed to stop the change in the dynamic. Okay? So let's walk through it a little bit more precisely. Let's say we start with piano and we crescendo. And then we get to mezzo forte over here. Alright, so that basically means that we gotta make sure that the way our crescendo worse is that we arrive at mezzo forte. And again, we don't always have indications at either side, and they're not necessary. We don't have to have an indication over here of what we're supposed to arrive at. And if we don't have that indication and we just keep it going right, whatever feels right. Usually forte is a good idea, but whatever works in the context of the civil right, but usually they will give you some indication, right? Again, it's not necessary, but it's usually a good idea to put one there. Because if not, then you just have to make one up, I guess. Same with over here. We don't have to have an indication. Sometimes you just put it at the beginning of the song. In that case, I mean, you can just start at like mezzo forte or something. Or usually they just put it in a place where there was some dynamic before this. So let's say there were some other notes before this write. And those notes had, let's say, a piano. That basically means that we, even though we don't have indication here, we're suppose to still start at piano. And then we'll just crescendo all the way up to here. And I will keep that static data. We see a new dynamic. So let's, let's run through this together. Let's exactly how they're supposed to go. So if you have piano over here, crescendo, and then we arrive at 40, were supposed to go, e, c, b, right? So you see how I gradually increase the loudness of my voice. That's basically how it's supposed to be, that it's a very graceful increase. And you've probably seen this and other songs. If you listen carefully, you see this all the time. It's a very effective dynamic that really is impactful for the audience and for the listener. And that's why it's a very powerful tool for a lot of musicians to just use this. And you actually see crescendos and decrescendo owes a lot. So you got, you'd be surprised if this doesn't look like something that will be used that often, but it actually is. Both of these guys are used a lot, which is why it's important to learn exactly how they work. And at first it might be a little tough to know exactly how you're supposed to implement it. But always just try to be very graceful with it, right? Tried to not force it too much and just go at a pace that makes sense for you. So you don't want to jump huge dynamics between these nodes, right? School here a little bit higher, little bit higher, a little bit higher, a little bit higher, little bit higher to we get to the end, right? So that's how you're supposed to look at it. Okay? Hopefully this makes sense. So again, just to run through it one more time, crescendo is when we have this, basically we start at 1 and we diverge. That's crescendo means get louder over time. Well, we start like this and we converge at a point. That means start loud and then and software, okay? And usually we have indications on one side or the other or and if we don't, we just do whatever makes sense in the context of the solid. So hopefully that makes sense. Again, review these, both this dynamic video and the other dynamics video. Just to review the material that we covered together one more time to make sure we know exactly what's going on anytime we see any of these dynamics. Okay, so hopefully that made sense, and I'll see you in the next lesson. 28. Lightly Row - Song #2: Alright, now we're going to learn our second song together. And this one is called Lightly Row. Now, this song is not a complicated talk. It's actually pretty straight forward. So I just want to reassure you, this should be a pretty easy one. We just need to practice it a little bit together, okay? Now, there's nothing crazy going on in the notes. The biggest thing that we need to make sure you pay attention to is that some nodes are longer and some nodes are shorter. And we need to make sure we are playing them accordingly. So let's go ahead and take a look at the notes together. So let's go through the song. So we're gonna go through the notes first, we have E over here. We have C sharp, which by the way, C sharp is the second finger on a. Dy, which is the third finger on a. B, which is the first finger on a. A over here, B, C-sharp E. And I'm just going to refer to them as a, B, C, D, and E log are referred to as the first finger on a or Firstly the third finger on a. Just remember that's what they are. So anytime you see That's referring to the first finger on a, as noted above these notes at the SEC sharp refract the second finger on a tie is C, e to the third finger on the right. Let's keep going. E over here, three C sharps. D, B, B, B, a, C sharp, E, E, C sharp, C sharp, C sharp. And then we have four b's over here are five, rather. We have five C sharps, D and E over here. If E, C sharp, C sharp, C sharp, D, B, B, B, a, C sharp, E, E, C sharp, C sharp, C sharp. Okay, so those are the notes that were supposed to play the violin. And I just wanted to go through it to make sure that we know what's going on, right. So hopefully by now you've started to notice at least A's in 0s and you can just tell as soon as you see them. But in case you haven't just thought it would be good idea to run through them. So you know exactly. So if you need to mark up your, your own sheet music, go for it. Write the names of the notes below it. Or if you feel comfortable with it, or if you feel like you can read it, or if you already knew how to read music, then obviously don't have to worry about that. Now, moving on to the other stuff. So we have two different types of, as first temporally speaking, we have two different types of nodes here. We have coordinates and we have half nuts. Alright, so remember half notes were two beats long. What's quarter notes are only 1-bit lot. Okay? So what that basically means is that we have to play this first note for one beat and play the second note for two beats. It puts third note for two beats. Yeah, so remember I'll throw out one more time. One beat, one beat, two beats. So the way that goes, that goes short, short, long, short, short, long. For them makes sense. Over here we have just four quarter notes. That's all short notes. Over here of two short notes and a longer note. So short, short, long, right? And that's basically how we store them. And if you pay attention, those are the only two buttons we have in the song. We either have four quarter notes, which is basically four notes that are all the same length. Or we have this rhythm, which is, the first two are short and then the third one is along one. You've seen this a couple of times or throughout the song. And we gotta make sure that anytime we have a half note like this, we actually play it for its full value. Ok? We actually make sure we play it for two beats and we make sure we play it for longer than, is longer than the quarter notes, okay? And that's pretty much all we need to run through. Now we can go back and tickles. Alright, now let's take a listen and see how the song is supposed to be played. Alright, now it's your turn to give it a shot and see how you feel about the song. If there is any confusion about east to submit notes or how you're supposed to play them, feel feature, rewind this video and just see which four we could be doing a little bit better. Alright, to luck. 29. Song of the Wind - Song #3: All right, it's time for song number three. And this one is called Song of the wind. Now, there is a specific part in the song that might be a little challenging for you. So I just want to discuss how you're supposed to play. There is a part of the song where we play the third finger on the a string. And then immediately after that would play the third finger on the E string. And I just want to walk you through how you're supposed to make that transition, okay? We'll discuss exactly where in the song it is in a moment. But for now, let's just how we're supposed to do this, okay, so anytime we play specific finger on the screen, and then we're supposed to play that same finger on a different stream. Well, we can do is we can just roll over the finger onto the other stream. So I played third finger on a segue. I roll over my fingers onto the eastern third finger. Ali's here. So just so you can see you love a better, I'll just show it here by the third finger on the a string. And then we just rode over onto the history. I would play it over there. Okay. Now, let's go ahead and take a look at notes so I can show you exactly where in the song as happens. Alright, let's run through song of the wind. Now, we're going to run through the notes first. So remember a. This one is B, which is the first note on a, C sharp, which is the second finger on a. We have d, which is the third finger on me. Alright? And we actually end up getting to some notes on the E string as well. So we have F sharp over here, which is the first finger on e. We have this other a, which is the third finger on E. So when I write a, as you noticed, we have two different a's, right? This one is the open string a, Whereas this one is the third finger on the E string. And so how do we tell them about? Well, the only way to tell them apart is by their position. Okay? So I will write the same thing for both of them. It's up to you to notice that, okay, this one is up here. So that means that it's not this guy. It's not the a on the a string. It's the a that is the third finger on the E string. Ok. So just wanted to make sure you guys are aware of that. But we're gonna write both of them as a OK. Now, that's all the notes that we encounter. So let's just run through all the notes. For 0s over here. D, here we have F sharp, another open string, E, F-sharp, dy a. This is the higher a. Be careful of that. F-sharp. E, E, D, D, D, D, C sharp, C sharp, C sharp, C sharp, B, B, B, a. Another C-sharp. E. E, 3DS the C sharps, C sharp, three Bs. And then we finish off with the a string. Okay? Now, couple of things drawn through. First of all, what are these things? Well, these are what we call a break or arrest called Breaking gum rest. Whatever you call them. What they basically mean is that you don't play anything for a specific period of time of n. Now, this symbol specifically is a quarter note rest. So what that means is that we basically have a rest for the same length as one quarter note, okay? So same length as this guy, we rest. So basically that means 1-bit. Yes, for one week, we pause and we don't play anything. Okay. So if we're playing bum, bum, bum, bum, bum, bum, bum, and then boom, we don't play anything for one beat, and then we continue. Okay. Now, previous to this, I was talking about this technique where we have to roll our finger over. It's right here in the song. As you see, we have a third finger on the, on the ice rink, sorry. We have a third finger on the E string and we basically have to roll our finger over. Ok? So roll over with your finger. To push my writing is not the best. Let's write that again. Roll over. Right? And the same thing over here. We have the third finger on the a string. We have the third finger on the E string. And we are rolling our finger over from one to the other. Okay? Now, that's pretty much all we need to know. The rhythms are pretty straightforward. We have bunch of notes and eighth notes, as we know, are equal to half it beat. Okay, so these are all half upbeat, longed, and they're all the same length, so you can just play them all the same length. Okay? The only two times are the only three or four times that we don't have an eighth note. These four, basically, these are quarter notes and there are one beat. So basically these quarter notes have to be double the length of all these eighth notes. Eight, and we only have four of them. And that's pretty much it. Everything else is pretty straightforward and the song, so go ahead and try it. Annotate your own music sheet if you feel like you need to. And let's go also here. How is this supposed to sound? Alright, now let's take a listen to how the song goes so that you have a nice idea of how we're supposed to players. Alright, now it's Georgia. Give it a try and see how you can do specifically with the third finger procession and from the eastern to Eastern. And good luck. 30. Introduction to Scales and Arpeggios - Beginner Violin: Alright, in this video, we're going to discuss what scales and arpeggios are. Now, I'll start with scales. Scales are a sequence of notes that start with a specific note, let's say for example a. And then the sequence goes all the way up to the next time we see that note. Now this doesn't have to be immediately the next octave. It could be, let's say, two octaves for now, where we see the same note and then come back down from there. But let's just stick to one octave for now. So in this scale, we go all the way up to the eight, and then we just come back down and we play every single note in between. Ok? So basically scales are a sequence of notes where we start on a specific note, will go all the way up to one of the next time that we see that note. And then we come back all the way down to that first note that we started with. And we play every single note from here to there as or referred to as a scale. Now they're obviously different scales of some skills. We don't play every single note that is between these, that is there between these nodes. Sometimes it's just a little bit different. But basically it's always a sequence of notes where we start on a specific note, go to one of the future times, we get to that note, and then we'll come back to that. Okay? Now, there are two main scales in music. There are obviously a lot of them, but there are two main ones. And those are the major and the minor. Now, the major is a happy sounding scale. And the minor is kind of a sad sounding city scale, right? So it kinda sounds like sad music, whereas major sounds like happiness, like Alright, so that's the best way to tell them apart just by hearing one is sound happier? Does it sound sad? And we're going to start with the first scale that we are going to learn on the violin, and that is a major. Alright, so let's break it down so that a major scale. What does that mean? Well, obviously that means we have to start on a and finish on a. So exactly what we showed right here is actually a major. And the major part means that it is going to be a happy sounding scale, right? So it's going to sound happy. It's not going to be a sad scale. So in order to make it sound happy, we need to make a few adjustments. And those aren't in terms of the accident also, we put on them. Right. So just put that there. And there we have it. That's the a major. Alright, so what this basically means is that we're not just paying the natural versions of these. And sometimes we have to put these accidentals in order to make the scale sound happy because we're playing a major version of this, right? So. Again, this is a little bit more complicated stuff and we're not gonna get too much into why we put these here. But just so you're aware, that's how an AA majors play. Okay? And while we already know how to play C sharp on the violin, and we actually don't even know. We have never tried to C-natural before. So basically, there's often a very binder, and we always played F-sharp, we always put the G-sharp. So it's all good. It works out for us basically. And again, we'll talk about exactly what's going on later on as we get a little bit more into the advanced material. But for now, just focus on the fact that we start on a well who played a major scale? Just write that here. A major, we start on a sense it's a major scale. That means that we do play every single note between these two. So we start on a, we play every single note until we get to the next day. And it's a one octave scale that we're doing right now. So we're just gonna go until we get to the next day. You play every single note to a get here to the highway. And it would play every single note until we go back down to the lower right. And that is, are a major scale that we are going to be covering in this course. Okay? Now, let's talk about arpeggios. More arpeggios. So basically, arpeggios are what we get if we remove some of these from the major scale or the minor scale. So let's say it right here. You want to play the arpeggio for the a major. So how do you that will basically do it by removing the second, the fourth, the sixth, and the seventh notes. Okay, so basically the school like, we don't want you we don't want to, you know why you wouldn't want you. And there we have it there. There's arpeggio. Same combat down the seven to the sixth, fourth. The second, we don't want, we only want the first. The third, the fifth, and the eighth. Ok? Now, there are obviously different versions of arpeggios. Arpeggios basically referred to anytime we take a specific number of nodes out of the scale. But the main arpeggio we usually use is 1358. Alright, so basically we keep the first note, we keep the second node, which is a C-Sharp. The fifth note, which is an E, And the eighth note, which is the higher pitched. And then we come back down, play E, C-sharp. And they would play the lower pitched a lot more time. Okay? So C, we're still doing the same motion. It's just that some of the nodes have been removed and we're only doing the first, the third, fifth, and the eighth. Okay, so this is the arpeggio that we're gonna be using throughout this course, is this main one, which is the first, third, fifth in eight. And again, you don't have to memorize this. I'm just gonna provide you to notes every time we go over arpeggios and the majors, I just want you to have a big picture idea of what the scales and arpeggios are. Okay? So if you're a little confused, if you're not sure what exactly is going on, you don't have to worry about it. Okay. I just wanted to give you a little bit of a bit breakdown. So you have a big picture idea of what scales and arpeggios are. But you don't have to worry about knowing how to make an arpeggio or anything. You don't have to memorize 1358. I'm just gonna provide you denote. Okay. So just as long as you understand what's going on, that we're basically putting notes in a sequence. And basically the purpose of a skill is for practice. So there, there is no other purposes scales. Just so, just so wherever this for practice and also for some more advanced stuff like how accidentals work and how we determine the key signature and everything. But again, that's advanced stuff. We don't have to worry about that. As far as we're concerned. We just need to know that skills are meant for practice. And they help us learn how to play specific notes. And they help us play notes in a specific sequence. Sometimes all the notes in order, sometimes some of the notes and jumping over some of the other nodes. Okay? So that's what the scale and arpeggio are. Again, you don't have to understand everything that we've just talked about. It's okay to be confused because this is a little bit of more advanced material. But as long as you understand the big picture, we're good to go move forward and do some scales together. Ok, so in the future videos, we're gonna do the a major scale will guide you the D major scale. And eventually we're gonna get 22 octave scale as well. We're gonna do the G-major. And basically, I wanted you to have an understanding of what scales are in general. Okay, so that's all for this video, and I'll see you next week. 31. A Major Scale and Arpeggio - Beginner Violin: Now that we have learned what scales are, it's time for us to try our very first scale on the violin. And we're going to start with the a major scale. A major scale obviously starts from a, so we started with a strength and we go all the way opsin next, a, which is the third finger on the Eastern. So basically we start with a, B, which is the first minor, C-sharp, which was the second winner, D, which is the third finger. Then we moved to the east rank E, F sharp, which is the first finger, G-sharp, which is a second vendor, then a, which is the third thing. And then we combine all the way down. Okay, so basically just track along with you to go a, a first finger, a second finger, a third finger, E, E, first finger, E second finger, third finger. And then we retract that. The third finger, Issachar finger, E, first finger, eat a third finger, a second finger at a first finger. A pretty straightforward. Now let's try it together. Okay. One last Sanders to mature we go along. Just keep in mind that similar to when we were playing the songs, when we're putting down the fingers, we keep the previous one still on the board so that when we're going back down, let's say we've got to y3 and then we're coming back down. It's easier for us to play, let's say E21 because all we need to do is just remove them oscillator. Alright, we need to remove that if y1, right, it's all there, ready to go. Now, that's a major. Let's also try the arpeggio. The arpeggio for the a major goes as a C-sharp E, a, which is a. For your third finger on the most complex soap will show that this was a Jew. Sounds like. Sort together. We'll try it one more time. Alright, now that we know how the scale goes and now we know how to approach your works. We're going to combine two of them together. And we're going to play the scale and or upper jaw altogether and wants OK, so let's try that together all put along with useful skill or ritual for the image. 32. D Major Scale and Arpeggio - Beginner Violin: All right, it's time for us to learn our second scale, and our second scale is the major. Now D-Major is very similar to a major. The only difference really is that it starts on the DC shrink. Other than that, that fingerings are pretty much the same. They're obviously both only one octave, so that length is the same. And even their arpeggios are very similar. So really this should not be too difficult for us given that we've already done a major. But let's go over it together. So i stars on the D string, goes D, E, F sharp, G, a, B, C sharp, D, right? So That's basically saying d, first finger on the second finger on the third finger AND a first finger on a site given neurone, third finger on me and come all the way back down. So let's try. Let's try it one more time together and then we can move on to the arpeggios. All right, our federal is also very similar to the imager. That's one goes D F sharp. So just to say d psi given Gandhi started finger on paper and then come all the way back down. So the solids goes up. Now let's write together one more time. Perfect knowledge, put it all together and the scale and arpeggio, and played the entirety of D major. 33. Go Tell Aunt Rhody - Song #4: Time for our fourth sunk. This one is called Go Hotel Ads roadie. Now, this one might be a little confusing as far as the rhythm is concerned, because there is a lot of different shorter and a lot of different longer notes. And they are very much intertwined. So sometimes you have one long note and then to sharp dots. Sometimes you have to long notes. And then for short notes, there's a massive number of combinations. So let's go ahead and take a look at the notes together so we can discuss exactly what is happening throughout the song. Alright, so for this one, we're going to start by looking at the rhythm. So first of all, we have three different types of notes. We have coordinates. We have eight thirds, half notes. And hopefully by now we know how long each of these are. Coordinates are one Beat It sounds or half a beat. Half dots are two beats, OK. And hopefully if going forward we can just refer to them without mentioning how how long they are. And hopefully by now you've, you've had you've had a grasp of how long each of these are supposed to be. Ok, but let's take a look at the rhythms. So the first one, we have quarter note to eighth notes. Quarter notes. Alright, so that goes kind of like this. And it goes one on beat, 2.5 beats and then 21 bits again, right? And the way we can count this in order to help us be able to perform this better, is we usually use a system of counting each bead as one. And then for the ones that are half a beat, we usually add an end. So for example, right here, if we were to count, this, would count 1234, right? So instead of counting 1234, which is the big counts that we get, we count 1234, right? And the reason we do that, in order to make this clear that there's a half note and this is the half note as well. Yeah, so for the second beat, instead of having one beats note, we have 2.5 notes. Okay, so let's use this method to count this bar right here. So we would count 1234. Okay? And so again, one because it's one beat, two because it's one beat. This one is to half beats. So instead of just think three, we say three and then this one is four. So 1234. Okay? So basically singing the rhythm of these notes. And you can clap them too. You could clap. Alright, now let's take a look at the next one. This one is just like the first bar, 123 for right? Now, how about this one? This one looks a little bit more different. Well, let's break it down again. So let's not get panicked by the fact that it looks different. First we have 2.5 notes that consists of our first beat, so we say one and then we have another 2.5 notes that consist of our second beat. So we say 2N, and then here we have a half note. So how do we count? How often do we say three-fold? We don't say 34 because that would imply that we have to one beat notes. We just put three, right? So the way we count it as 123. So we don't even have to say for, because I hope this concept is coming across. We just count whenever we get to this note, and then we don't count anything until the beta's over. Okay, so if this note lasts for two beats, which it does because it's a half note, then we don't say anything for the next two beats and we hold on the three. If we do have another thing coming up, right? Let's say this was a half note and then we had another half note here, and then we have another beat. Then we would have said 34. But because we don't have anything coming afterwards, we just say three and we hold them over here. Let's get it together. 123 for its count, this 11234 count, this one. Today is what is this thing popping up together? We get 1234. How about this one? Concat, that one? Well, it goes one because it's just one bit that I mean another one B, so two. And then we have a two beat, so we just say three and we hold on to three. So 123, right? I hope this makes sense. And then the last line is pretty similar to all the stuff that's come before. Hopefully this is making sense. And going forward we're going to be talking about more stuff like this. There are more complicated and the newer stuff that we're learning in each piece. And this piece, really the purpose of this pieces to teach us to be able to count better, be able to count different rhythms, be able to be able to adapt to different items. And therefore, that's why we are focusing on mostly, right. So I'm not going to go through what every note is. Because hopefully by now you have an understanding of how to read music. So, you know, if you still need to annotate because it's still hard for you to read on the spot. That's totally fine. But I'm going to leave that to you from now on because I want you to develop the skill of being able to recognize it out. Like hopefully you realize a buy now, right? Because not only does it tell you a 0, which means that all ministering, it's also the position that we've grown to know, right between the second, third. All right. So hopefully, you know, that's a. Hopefully you can determine what this note is a, B because it's one after egg. And hopefully you can do that also if you need to annotate your notes and just write C sharp or C sharp, b, a, b, b, c. If you need to do that, that's fine. You can do that. But I'm just going to leave that to you to do it for yourself. Because not because I don't want to do it for you, because I think it's a very, very good learning experience for you. If you just start writing and helps develop this in your brain as long so that hopefully as time goes by, you can just start recognizing these notes without having to write what they are underneath them. Okay. So go ahead and do that if you have to, if you don't, they'll even better. And also, just make sure you understand how to, how to read the rhythms and how to club them. Okay, so that's a, we're going to clap this first bar. We would stop, right, because we had 1234. So you go. Alright, so the clapping helps us be able to play this with far more 0s because, well, if we know how to clap it, then we know exactly how we're supposed to play, right? We just do it the same way. Now we just have to put the notes there. And hopefully that makes sense. Now let's go ahead and take a listen and see how we're supposed to waves. Alright, now it's your turn to give it a try. I understand it might be a little confusing at first because there's a lot of different short and long notes. But try your best. Rewatch the video if you need to. And I'll see you the next one. 34. O Come Little Children - Song #5: Our next song is called, Oh come little children. Now this song is also little rhythmically confusing, mostly because we were introduced to a new concept, which is the upbeat. Now what does the updates? Well, let's discuss that thoroughly together. Right? So again, back to discussing Rhythm and their song. There is a new concept that we learn here. So let's start with this thing right here. So remember how we talked about these dividers. And we said that they divide different bars for us. In each bar is supposed to be the amount that we set here. So this is a 24, which means we have two beats per bar. All right, so if you look at that, most of the places that make sense, right? So here we have one beat, upbeat, happy, that's two beats, right? If you add that all up, you get two beats. So all good there. So let's try this one. We have one beat, beat, beat, two, looks like a three, so I'm just gonna do that. There we go. And that adds up to two as well. Try this 11 beat, beat, beat. There's probably starting to see a pattern here. It's all too. So all good there. Here. We have a eighth rest, which means half beads of pause. So that is also 1.5 plus half equals two. All right? And as you notice, we have these rests along. And again, these are an eighth rest, which is half a beat of just pausing. So what's the problem here? What am I even bringing this up? While if you look at this first bar over here, what do we have? We have a half beat. That's it. We don't have anything else. Watch what's going on here. Why is that only half B? Whereas now NO2 beats. Well, let's take a look at the last bar as well as bar. We have a dotted notes. So what is the dotted notes? A dotted notes means that let's say we have this thing I hear. Obviously that's a one beat. If we add a dot right next to it, that means that we're going to add half of its original value to itself, right? So if this is one beat, it's gonna turn into one plus a 1.55 beat. This dotted note thing goes for everything, right? So if we had, let's say a half note and we add a dot to it. And instead of being only two beats, it turns into two plus half of its original value, which was one. There's the three beats. Ok, so just cite concept for you. That's what a dog looks means. Ok. So we have a dotted note at the end, which means we have 1.5 beats, right? And that's all we have in this last leisure right here. Really, I want to have Pete. What's going on here was I know too. Well. Here's the thing. If you add this 1.5 beats to this half B the top, what do you get? You get two. Ha, it's almost as if we took half beat from right here and we plugged it all the way up to there. Well, that's exactly what happened. So this is what we call a pickup. Very interesting concept. So a pickup is when we take a part of the b's value of the last bar, and we put it all the way up here. And it's called the pickup. So I pick up is basically a small value. It's usually far less than the value of the entire bar. And in this case it's only half a beat. And it's basically a pickup, right? So it's small. It's a small addition to the beginning of the song that changes the entire song, right? Because instead of just being 12 or 121212, instead of just having that, we have this and right beforehand. So the way that song ends up sounding is like and want to add one to N1 to N one, right? So it's almost as if this is the first beat of the first bar. That's how it's going to sound like. And that is why it is going to change the way the entire song sounds. Because now none of these first beats in any of these bars feel like the first beat of the bar. They all feel like the second beat of the book because it's always going to be, this is what it's going to feel to get to the listener's ear. I'm just going to clear this up a little bit. Troubled leader. There we go. It's clear that what the listener is going to always hear is almost as if this is the bar. And we have one end to end, and then that's the first one of the next one. And this is the second word, right? That's what the listener is going to here. That's what their perception is going to be. That that's the first bar, that's the second bar. That's the third bar, whereas that's not the case. This is actually the first bar. This is actually the second one. And that's what it's going to change the way the music sounds. And this is something very arches artistic that sometimes musicians do. And it gives a very unique quality to their music. And that's why they do it, right? So it's not without purpose. It's not just something that some guy was like, you know what, I'm just gonna do this just to mess with people. There is actual purpose to it and artistic purpose to it. But that's the reason why, because it changes the way the listener perceives the music. Because it's gonna seem like that's the beginning of the bar. And that's why it kind of feels like it's what we call an upbeat, right? Because instead of this, the first beat of the bar, feeling like the first beat of the bar. It's another beat in the bar that feels like the first beat of the bar, right? And in this case, the last one. So in each given beat, the last half beat is going to feel like the first beat, which is really weird because that's not the case, right? So that's what a pickup is and that's what an upbeat notice. Now, again, if you if you don't know, if you can't read the notes and it's a good idea to annotate them again, like going like E, C-sharp, E, whatever. As we discussed earlier. I'm just going to leave you to do that on your own, just so it's a learning opportunity for you. So if you still are not comfortable with reading music, again, just doing it more often, writing it down. It just helps you learn the notes better. Okay. So do that on your own if you have to. But yeah, that's all we had to say about pick-ups and upbeats. And now let's go ahead and listen and see how this basic sounds and keep in mind while we talked about right here about the pickup at, it's sounding like this speed is the first beat instead of the actual first beside. And like, just keep that in mind while you're listening to the music and see if you can spot that. Let's go ahead and think. All right, now sorry for you to go ahead and practice this on your own and see how you do about debugging. 35. Managing Your Bow - Beginner Violin: Alright, I want to take a moment and talk to you about managing your bot. Now, when you're playing on the violin, you need to be careful of how you use your book. You can't just use it however you like, simply because you have a limited amount of BOOL, right? Your bowl is only this far long and it's not gonna get in longer, right? So if you're playing a specific note and you get close to that of the boat, that means you can't really keep playing that node for much longer, right? Because you're gonna just run out of Google basically. And you need to change your boat pretty soon. Now, let's take a look at an example. Let's say I'm playing a long notes and note that suppose less, let's say four beats. All right, so, so right. Now I manage my book pretty well to make sure I cover that note for four beats, right? However, if I was not paying attention to how I'm using my bowl, maybe I end up to the tip of the bow after two beats. And then what do I do after that? So for example, I'm trying to play four beats of a and this is what adults and I had to squeeze and M tried to keep it there. There's just not a good scene, right? You always want to think ahead about how you're using your book and you want to be able to manage it. All right, so for example, if you have a long note that you have to play, try to disperse it in a way that you can actually covered entire notes. Let's take a look at it one more time. So I want to play a for four beats. So I'll just go manage it in a way to make sure you get to the end of it after beat four, right? So if you want to play a note for four beats, you should be about halfway point attitudes. You should be about 75% of the way through after three beats, if that makes sense, right, roughly speaking. And that's how you need to think about the book at all times, right? But it's another thing to think about. It's another thing to worry about. I completely understand there's lot of things that you're already worrying about. Like you're worried about your posture, your worried about putting my fingers in the right place and all of that stuff, right? And that's perfectly well and good. This is another thing that we have to keep in mind. Sure, but it's a very important one because if you add a bulb, there's just no way we can bounce back from my right. It's really is one of those things that we have to pay attention to beforehand. And in the next lesson we're gonna talk about slurring. But basically in sometimes we have specific number of notes are the same book, right? So let's say we're playing two different boards, are two different nodes on the same boat, right? Let's say we're playing a and a2, each of them for two beats, but both on the same row. So we have to play this basically. Alright? So each of them whose nodes is only two beats long, but together cumulatively, that's four beats. So we have to make sure we manage our MOOC for four beats. Alright, so I have to go much slower with my movement. Now I want you to try this. Try playing a specific note for four beats long and try and managing your bill and thinking ahead about it. It's a really good exercise because it really does enable you to think ahead about how you're using a book. You can just start with the simple one, which was the E. Let's see what imagined 4-bits. So let's do it together right now. Actually pick up your violent. Let's try playing a for forties without changing the direction of the ball. Okay, so we have to make sure we manage ERBB2 really. Well. Medina war more data. Hopefully you were able to keep up. If not, that's okay. Just keep trying. The more you think ahead about it, the easier it'll be to perform. Now, like I said, we're going to talk about slurring in a moment. And when we get into that, we're going to be mentioning a lot about how to manage your bot according to how your slurring specific nouns. Okay, so just keep that in mind. That's one of the things that we have to always be aware of. We have to be attentive about and make sure you get some practice on that. 36. Slurring - Beginner Violin: Not only had a chance to talk about managing Garbo, let's talk about slurry. So what is a slur? Slur is when we connect two or more notes together in order to play them all on the same boat. Now, why do we play some notes on the same but well, when we play notes on the same boat, we kinda get a connective quality across, right? So for example, let's say I'm playing A1, A2, A3, right? So a, B, C sharp, D. Let's say I'm playing them all separately. And then I'm playing them all on a slur and you can hear the difference, right? So the first version, the second version, as you probably noticed, the first version, which was the separate version, was a lot more staggered, whereas the second one was Lamarck connective. And that is what slurring gets across, right? Sometimes we want that quality in our song is specific areas. We want to get a more connective quality across instead of more separate quality. And in those cases we used this third, so we use basically a curved line, either on top or below the notes. Identify that were supposed to play them all on the same boat. Now, how did you go about doing this? Basically, we just don't change the direction of the Bo as we are changing the fingers, right? We just keep the ball going. And we've changed the fingers to reflect the new notes. If we have to do notes on different strings that are connected to each other, are stored with each other. Well, we keep the movement going, but we changed the direct tick. We just don't change the direction, but we change the strength basically. Now, let's just go through the first one where we are not changing the strength because it's a little easier to understand and we go over the change in strings. The first exercise we're going to do together is slowing a, B, C sharp D together. Okay, so let's try to get them. Omer diet. Hopefully that makes sense. Now, if you're having trouble putting out vendors as your Bose gong on, why you need to do is just think of them as two separate functions, right? Boy. And having your fingers don't separate thing, right? It just happens that the produce the sound at the same time. And hopefully that'll help you out a little bit. Now let's try the other one. Let's say we're playing a E F-sharp and want to play them all on the same bu, okay. How would that was online? Take a look first. So as you see are still changing the string, moving my arm to change this, right? But I'm not changing the direction right. So if I was doing them separate, but since I want it all to be slurred with each other, I don't change the direction of the bow, right? I just keep going and I change basically where my arm is situated at in order to change a string. So when we're done, while not assign a E F-sharp, that make sense. And we're going to have a couple more trainings and we'll next lesson just to try slurring notes together. 37. [Training] Slurring - Beginner Violin: Alright, let's spend a little bit of time and chain together how to slur on the violin. Now, first exercise we're gonna do is a pretty simple one. We're just going to go a, B, C sharp, D, E on the a string. And then we're gonna do the reverse, right? And then we're going to try to do this quite fast actually. So what sort of a lotus RTO? I'll just go. Alright, let's try it. The other Moscow, London, faster together. Now let's go even faster than that. This is what we're going to hear. A little bit tougher, right? Let's try it together. Ones I yeah. When we're done. If this is a little hard for you, so the understandable, maybe pause the video, try early coupled with IMC. If it can get a little bit easier for you after a trend, a couple divs. Now let's try the reverse of f. So basically going from E, D, C sharp, Ba, Let's start pretty slow. So this is what we want to hear. Ready, let's try it together. When we're done. Wondering, Yeah. Let's go a little bit faster than that. There's a little one here. Now let's write the other Homer dot. Ones like that. Perfect. Now let's try to even faster than that. Tried together. Again. Ve debugged and more DI. Now again, if that's too fast for you, you can try a little bit slower and eventually Azra practice at slower and you can slowly speed it up and try it has higher speeds. Eventually want to get to a place where we can play this so fast that it can actually be fingering, so I suppose as well. So usually it's a good idea if you get to this point to just pick up any string, right? And let's say a stream and just go. We keep going. No finger, finger, finger, finger, finger, one finger, two fingers or three fingers. Okay. And you can just store them all. And it's actually really good fingerings, resize it and it gets your fingers warmed up. And it makes a lot easier for you to perform similar high-speed short notes. Now let's try it the other way. Let's try third finger, finger, finger, finger, third finger, second finger first when you're nothing here, kind of like this. And you can just keep speeding up as you try it this over and over again. You can add the fourth finger if you want. I let's say we're sort of doing DOE fingers, you do fourth finger. So one finger, two fingers or three fingers, four fingers. Or the other way round. And you can just try a different number of variations, right? The point I'm trying to make us, we need to start practicing these slurs from much slower and eventually speed them up. And once we're able to do these higher speed ones, they're actually really good fingering exercise or S as well. Because we kind of get used to playing different notes in quick succession without pausing in between them, which is a very key asset for us moving forward. So try these two specific exercises. See how fast you can get with them and just keep them going. 38. Weight on the Bow - Beginner Violin: Now we're going to take a moment and discuss the weight on the boom. Now we already talked about what dynamics are. And we know that sometimes we want our sound to be a little bit softer. And some other times one or more bombastic sound that really fills the room right? Now. We also talked about how we're supposed to make these sounds. We want a richer and fuller sound that really fills up the room. We need to put more weight on the boat when we're playing. Whereas when we are going for a softer approach, let's say we have piano on a specific song. In that case, we need to have less weight on the BU. Now, what do I mean by that? Let me show you exactly. So let's, I'm playing the eStream, right? And it's mezzo-forte. So we don't want it to be too loud, but loud enough, right? So collagen. Now, that's Hong play a mezzo-forte. If I were to play a piano, Eastern, This is what I would do. Hopefully you can hear the difference between the two sounds. Now, how do I create that difference? It's the way I'm putting on the bow. So basically I'm trying to minimize the contact between the bow and the string. So that because Act is much softer, it's not as aggressive. And the weekday you're putting on the boat with your right hand determines that. So take elder look. Very gentle. If I were, if I were to do, let's say double forte. But maximize weight on the book. So more pressure on the boat, but not too much. You have to also be careful because if you put too much weight on the boom, you could create something like this. Yeah, that's not what we want to do, right? So you gotta find the right balance. Just take up your violin and try it yourself. See how much weight you can put on the book before it sounds. Before it starts. Suddenly this, we don't want that, right. We still want to be able to hear, to note loud and clear. So something like that, right? As much pressure on the boys we can put without creating the noise. 39. [Training] Dynamics - Beginner Violin: Alright, hopefully you've had a chance to try out for yourself and kinda get a feel for how we produce a loud sound and how we produce a softer sound. And how we avoid producing a 3D dad sound by pretty too much pressure on the bow. So if you've kind of got a feeling for it, what we're gonna do right now is we're going to take a moment and just practice a little bit with, with each other. So let's pick up our violin and let's start on the a string. Hopefully you remember was one that Eastern is by now, if you don't, you should probably go back to the previous videos. But let's go on to a string, and let's start with mezzo-forte. Metaphor does the easiest. It's usually the sound that we produce. We were not thinking about, right? So if you just put your bow on the string and just make the sound without even really thinking about dynamics, what you end up losing his mezzo-forte, right? So let's just do mezzo-forte for now, which is the easiest one. Put our bow on the string and go for it. Not what I want to see in you is these long and nice booths. So we don't want to do this logo halfway. We don't want to just kind of part of the bow. Wanted make sure use zip to frog. Okay, so we started a frog one more time together. Make sure we're producing the right volume of sound. Nice along booze with me again. Today, now that struck piano. And usually when we're playing these softer dynamics we want to do is one, he's less book, right? So for mezzo-forte, we're using the title, nice long books. But for piano will we usually want to do is we just want to use the top half of the bow. Now the reason why we use the top half rather than the bottom half, because it's a lot easier to put less weight on the top half. That is on the bottom half to Slate about right. Like this part is closer to your hand, right? So the slightest little pressure you put, it's gonna get transferred here. Much easier. Whereas over here, it transfers a lot less of depression, right? Because it's just a longer distance. Ok, so usually for the software dynamics, we use the top hop, the bow. Ok. So let's try starting from the very middle of the book. I'm going to tip back in the middle. Okay, so on the eastern one more tag. We're going for a very soft sound. Let's try it together. Now let's try. Let's try it on the E string. A, B, C sharp, D. Then the first finger on second finger, on the third finger on One more time. Make sure you keep it piano, make sure you keep it solved. Nonce, kick it up a tiny bit to mezzo piano. So we're still going for a softer outcome. We're still going only for the first, for the top half of the book, but slightly louder than piano. Same thing. When you're ready. Again, we've got to make sure we're still not quite as loud as when we are going to play mezzo forte and we're playing the full book. But we also don't want to be at our, at our absolute released and solve this sand possible, right, that it's reserved for piano. So somewhere in between of the two is the perfect spot. So let's try one more time. And that's a piano on the, a string with the fingers. Alright, now let's try 40. Now 4A is a little bit louder than mezzo forte. So what do you usually play? We want it to be even louder than that. Okay, so again, we're using the full bowl for forte, and let's just try the same fingers on the a string. One more time. Again, make sure you're putting more pressure than you would if you were playing just mezzo-forte, but also not as much as, you know, we don't want to go overboard. So let's try one more time. Now what I want you to do now is create the loudest sound possible without making it sound really bad, right? So basically we are going from double for Tina. Again, remember the two ways we can do this is by putting a weight on the boat and also making the boiling more rapid. That also helps us with controlling dynamics. So one more time, I want you to create the loudest sound possible. I want to create a bombastic sound that makes her neighbor really Angular, basically, because what we're going for, omega, the loudest sound you can make. One last time, goes loud as you possibly can. Wonderful. Now I want you to try practicing these a couple more times. It can be any string, it can be any fingering. Just tried, different dynamics. And we will get a little bit more practice with this as well in the future songs goes from this point onwards, we are going to see these dynamics pop into our sounds a lot more often. So if you are not so sure how this works, it has a good idea to take a moment and just re-watch some of these videos, or just try them a couple of more times just to make sure we understand how we produce these different sounds as there are going to be very important going forward. So do that and I will see you in the next video. 40. May Song - Song #6: Our next song is the mason. Ok. And this song introduces us a new concept which is the dotted note. Now, anytime a specific node has a dot right next to it, that means that it is going to gain half of its original BTW. So for example, if we have a quarter notes which has a value of one with a dot right next to it. That dotted note is going to have the value of 1.5. Now let's discuss this a little bit more in depth together and take a look at the entire song as well. Alright, so we already discussed what a dotted half note means. So again, just to recap, say, we have this. So this is a quarter note, normally will be one beat. But because it has the dot right next to it, we add half of its original value, which is just a half a beat. And we end up with 1.5 feet. Okay? So that's how it works. So this is 1.5 beats right here. And of course we have been. So how would we count this? By the way, remember how we talked about anytime we haves, we would just, instead of just saying one, we would say one and remember that. So same thing here. So we have, let's break it down. We have if, if this was, let's put it this way. Actually, let's say we had, for eighth notes would say 12 end, right? But here we have a dotted quarter note. And any thought, right, which is the same value. Now, this dotted quarter note is the same as having these, right? As far as beat value speaking. And then this thing here. So it's almost as if we have this entire thing wrapped into this guy and this thing over here. So we will just say one end. So we will say 13 for that's how it say. So you're probably asking, well, what happened to two? Well, that's the thing. Nothing happened to two. It's just that we're not saying it because it's covered through this guy. Right? So we say one. And so if we were to count this bar, we would count 134. Alright, hopefully that's not too confusing. Hopefully you can follow along with me. Now, let's go over here. How we count this guy. 123 number. It's a half note, so it lasts for two beats. So we have to hold whatever, whatever we arrive at, which is a three to hold that. And we don't see four. Okay. What about this guy right here? Well, we have a 1.5 beat and a half feet, right? Kinda like the first one. So we say 13. For this one, it's a pretty easy 113. Alright, so remember this is a half-note plasma 2V. So we say one, we hold it for two beats, three will hold for two beats. All right. How about this one? This one's pretty simple. 1234. Nothing crazy there. How about this? 11231234. 123. Hopefully this all make sense. So that's how we break down the rhythm. Again, hopefully you can read the music by now or if he can't just annotate them. And let's go ahead and take a listen, see how the song goes. Now it's your turn to go ahead and practice a song. And make sure you remember that the dotted notes always getting half of the original Beat value. It is an important concept that will come up time and time again. And it's important that we learn that from right now. Perfect. Go for it, and I'll see you next time. 41. Long, Long Ago - Song#7: Our next song is called long, long ago. And this song should be pretty straightforward one, there isn't anything too crazy about it. There are any new concepts that we learned in this one. However, some of the rhythm might be a little confusing, so we'll take a look at it together. But one piece of good news is that this is the first song that we've played together that we're actually going to use the nice stream in. Yes, we are going to play not just on the E string and a string. We're actually going to get to play on the D string in this song. So let's take a look at a song together and see exactly what's going on. Right over here. We're going to discuss two things. We're gonna discuss the rhythm a little bit, and I'm going to discuss the dynamics a little bit because there was a lot of interesting dynamics here. Let's start with a rhythm. So as we talked about were breakdown 1234. And just one little thing. As a reminder, this thing means 44, which is the same as saying four beats. Ok. So just so you're not confused by that. That's what that means. Now, let's go to the next bar. Let's see if we can count this. Try it on your own. Okay, hopefully you were able to come up with 123. Let us take another bar thick this one. Try that on your right. Hopefully you were able to say 123 for n counselors. So the first part, and that's pretty much it for the rest of the song, just follows those two rhythms, either 1234 and as you see over here, over here, over here, everywhere basically. Or if all those 123, as you see here, here, here, all over the place. And so those are the two mean rhythms that you see. And they're pretty straightforward. Alright? Now, let's discuss the dynamics a little bit. Now that we are starting to get a hang of how the rhythm works. Well, we have metaphors in the beginning, nothing too crazy about that. But then we have a D crescendo over here. And so basically what that means is that we start from that. So 40, I would just go down to somewhere, maybe mezzo piano or piano. And then here's the other interesting part is that from there we go even lower. So if you were at mezzo piano, we pay popular piano. If we're at a piano and probably go to double piano maybe, right? And now you might be wondering, why don't we just have a continuous big decrescendo like that? Well, there's a tiny bit of difference. There isn't too much difference, to be completely honest with you, you could just think of it as a long crescendo, decrescendo, sorry. But the only difference that you can make is that you kind of arrive at a metal piano, piano and then just hold that for a little while, while you go over here and then you start declining again, okay? Whereas if it was a giant decrescendo, you just be declined to hold time without staying at any given dynamic for any amount of period of time. Still are very minor difference. It's now going to be making a huge difference if you just declined the whole time. So it's, it's fine if he did that to, again, we have another decrescendo here. And here we have four to the crescendo. So processor, possibly we go from 40 to mezzo forte and then hear from it's a four till we go to mezzo piano, which is indicated right afterwards, right? And then hear from it's a piano. Probably go down maybe piano, double piano or something. Again, if it's not indicated, it's up to you really how soft ego, but you are the software the better, it just creates a better effect. And then down here we have another 40, right? And that's the thing the software are soffits are. The louder our forte is going to sound like, right? And the more bombastic, because there is only a limit to how loud or how bombast, so you can play on the violin. But if you contrasted well enough with super soft piano is a super soft double pianos, or even maybe soft metal pianos, then the forte is just going to seem really strong in contrast with the pianos. Okay, so that's just a little tip for you right there. And of course, if another decrescendo, and then we can decrescendo to any, any desired dynamic over here because it's on indicated. Ok, so just wanted to run through the, the dynamics a little bit with you. Hopefully it makes sense and hopefully you are able to implement it. Now, let's go ahead and take a listen and see how the song is playing. Now it's your turn. Go ahead and drag as the song and see how it goes. 42. Introducing Staccato and Legato - Beginner Violin: In this video, we're going to learn what staccato and the god. Or Now, let's say we have some nodes over here. You have c, d, e, and a. Ok. Now, the way we play this is pretty straightforward. We just play CDA EIA, but what if we have these guys right on top of them, right? So we have these dots on top of the, well, what these dots are telling us is that we need to play these notes shorter and a little bit more disjointed. And that is what we referred to as staccato. Staccato basically just means short and disjointed. And the purpose of staccato is to create a different card. A qualitative difference between just playing a note regularly and playing it this way. Alright, so think about it like tapping on a screen. Instead of just brushing against something. Instead of playing C, D, E, we're going to play C, the a. You see, it's kinda like that tapping wash it. And that's why the symbol is a dot, because that's what happens when you tap with your pencil on a piece of paper, right? Just leaves it up. And that is how we need to think about the way we play these. It's good playing it just as if we're putting our pencil on the screen for a second, and then that's it. Alright, so see the E a, whereas if we did not have those signs, whereas we didn't have a staccato, we would just play C, The right much more connected version of that. And that is basically what a staccato is. Now let's talk about the God. Now, legato is kind of the opposite of staccato. Let's say we have the same notes over here, or there we go. So c, d, e, and then open Daisy, CBA, right? But this time we have these dashes on top of them so that those dots, and what do those mean? Now the dashes are telling us something different. They're telling us that these are supposed to be long and connect. Alright? So again, look at the symbol. The symbol itself is kind of self-explanatory. Whereas with staccato we had this dot notion of bum, bum, bum, bum. We don't have that over here. We have a much longer and much more connected symbol, a dash. So we're basically going to see the pay and they're all very connected with each other. Okay? So the symbols usually do help us remember this because obviously you can just tell, right? If it's a dot, then to do if it's these guys, use dashes, that means that it was longer than a dot, right? So it basically means that we have to play these nodes along and connected to each other. Okay? So that's what stuck out on the road or they actually palpable lot in music's specific WR Caro. And what they're used for is to basically provide a little bit of a difference with the rest of the music. So usually if you haven't music that for the most part is very nice and connected. Sometimes you want to create something a little bit different in contrast with wrestling music and then use the Caro's. And the opposite is true for legato. Sometimes we have a piece of music that is pretty disjointed. Might be a little rough around the edges. But then specific part, you want it to be a little bit nice and smooth to create a little bit of a contrast with the rest of music. And then you use legato. Okay? So that's basically what staccato legato are. I just wanted to give you an intro before we get into how we play them on the violin. But hopefully you have an understanding of how the exactly work. Okay, so just go over that one more time and make sure you understand everything. And I'll see you in the next video. 43. [Training] Staccato and Legato - Beginner Violin: Now that we understand what staccato legato art, let's take a second and trade a little bit together. So pick up your violin and follow along with me. Let's start on the eastern US time. Just for variety sake. We're going to do first is just the string. And we're gonna try to squeeze their gardens. So with me. Now let's try E, F-sharp, G-sharp eight. So that's e. E first, then your second finger, the third finger. Staccato. Now let's try the same thing, but this time, legato. So we gotta have long bows, we've gotta make sure we connect smooth so the transitions are all smooth and they're not distributed. Hopefully you can hear the difference and try it yourself. See if you can make the two different cells. So let's try them, one right after each other. So staccato first, then legato. You probably noticed the transitions are a lot more intense when we're doing staccato. And there were a lot smoother when we're doing legato. And that's mainly the way we distinctive either to. Let's try one more time, this time on the E string. And this time we're going to do a, B, C sharp, D, C Sharp B. So a, first finger on hate, second finger, ONE, third finger on eight, back, just like you have in your back, your first finger and back to the Eastern on its own. So it goes down like this and we're doing staccato first. Null Chicago together one more time from the beginning. Hopefully that kinda makes sense for you as well. Try them. Legato was a little bit more. I don't don't staccato before, but legato require getting introduced to him for the first time out. And make sure to transitions are all nice and smooth. And I'll see you in the next video. 44. Staccato and Legato in Slurs - Beginner Violin: In this lesson, we're going to discuss staccato legato in slurs. Now, sometimes we see these in a slur. Slur was when we had more than one note on the same boat. So if we see staccato on more than one node on the same boat, basically what that means is that we have to make sure all of those notes are shorter, but they're still in the same book. So how do we exactly do that? Basically, let's say we're doing a, B, C sharp, D. And let's just first of all, do are normally, so there are no signs, no staccato legato. And we'll just do it like this. Right now let's say we have staccato goes on these notes, which means we have to make sure they're all shorter while still slurring all of them. So they have to all be shorter but still in the same boat. So how would that work? It goes kind of like this. So we're still doing them like a staccato and we're still making them shorter, but we're just not changing the direction of the ball. We're managing our bow. Remember when we talked about managing the boat, we're managing our goal to make sure we have enough room to do all four notes. But we're also taking a short pause between them, right? And it's a very intense false because you've got to make sure it comes across that these are short notes, these are cytokines. Okay, let's hear it one more time. Hopefully that makes sense. Now, what about the other one? But if you have Legos, those dashed signs on our notes that are still stuck look slurred, right? So legato meant we just play them connected, right? So how would that work? I mean, notes are already connectedness, flirt, well, legato means something slightly different in a slur, in a slurry. It still asking you to separate these, but a little bit different than staccato. So I understand it's already a little confusing. Wait, was that a legato men response? Plato's connected. In a sense. Here, we're still separating unknowns, but in a more connected and a more uplifting form compared to a staccato, right? So whereas the staccato plate, a, B, C sharp, D will have legato. We're gonna go a, B, C, D. Now, let's do it on the violin to see the difference, right? So let's say we're doing the same thing. Still slurring, but with legato and staccato. Now hopefully you can spot the difference here, the transitions on much smoother, even though we're still separating the notes on the same boat. It's smoother compared to doing the staccato. So let's do them back to back so you can see the difference even better. I'll do one staccato in Bell did the same thing, but this time with God, seeing their friends, we're still separating the notes with legato. However, this time, we are much more connected and much more soft about it compared to the staccato. So, and again, make, make sure you understand this. This is only when you have the notes slurred. If we don't have a note Slaird, it's like we talked before. Staccato, he's short, legato and skinny. But if the notes are slurred, meaning is little bit different and that's what it is. We're separating all of those notes on the same boat with staccato, much more intense, with legato, much softer. 45. [Training] Slurring with Staccato and Legato - Beginner Violin: Alright, let's take a second and train together. Same thing, staccato legato on a slur. It's what's pickup are violins. And let's go on the Easter egg just for a little bit of variety. And let's do E, F sharp, G sharp a, which is E, first finger on the second finger on the third finger, IV. And we're going to start with a slurred staccato. Ok, so all the notes are on the same boat. You have to manage our bow and we make sure we have enough room for all four of them. And we have to separate them intensively together. One more time. Make sure all of these separations are intense and abrupt version, so they're still slurred, but the transition is much smoother on the eastern together. Now let's try and district and throughout all of these on D-string regarding staccato ones and I legato ones and we're gonna keep alternating together. Hopefully that makes sense. Now let's do something a little bit different. This time. Let's do first thing, RDD stream, which is e. And second finger on the E Street, which is C-sharp. And the third finger on the E string, which is a. Alright? So the challenge with this training is that not only are we slurring and doing the staccato legato at the same time, we're also slurring on different strings. So let's try it together. Let's try first slurring without staccato. And we are just to get a hang of how we're supposed to go between the strings when we're slurry. So it goes kinda like this. If you wanted to see how it goes, try yourself. So basically we're changing the string, changing the direction of the boom, right? So you can change the strings is made housing you want without changing direction on the bow. So every time you go on a new string, you don't necessarily have to go on a new bull. You can just keep the same ball going if it's a slur and transition to a different stream. Ok, so just like that, if that makes sense. So let's try one more time together. First finger on the D string, second finger on the E string, third finger on the E string. And now let's try to staccato One more time. Promoter. And the slurred legato. One more time. One last time together. Hopefully you're to make DEF, make, make sense how it's supposed to go basically. Let's try them right next to each other. So we first go with the staccato and then we'll go with the Mughal. Perfect. Keep practicing that and little bit more just to make sure we have a feel for how we're supposed to stop when we have a staccato or only have a legato. And just make sure you kinda feel how it's supposed to go ride like with lot of these, it's easy to understand how something is supposed to go. But it might be a little bit more difficult in practice and actually implementing it. And that's what practice comes into play, right? So just take a moment, practice these a couple more times. You can do any of these drills or maybe something else. And just pass in a couple of times, make sure you fully understand how you're supposed to execute it. 46. Allegro - Song #8: And next song is called allegro. And this one has a lot of stuff to unpack. We'll learn what ritardando us and assault. We also take a look at staccato legato and a combination of the two. So without wasting any time, let's jump right in because there was a lot of new stuff and a lot of interesting things on back in this one. So let's go ahead and do that. Alright, so we're going to quickly go through the stuff that we just recently learned. So we obviously have the staccato, which means shorter. We have the logos, which means long and connected. And then we have something else here. You have these guys, it's one of those guys. Now as you see, they have these dots that represent staccato, but they also have those dashes. So what is that? Well, that is a combination of the two and it leads to a more intense version of staccato. So it's a more intense version. Version. Ok. So it basically means it is shorter, but a little bit more abrupt and a little bit more intense. Ok. So as you noticed, let me just clear this out for you over here. The first two are these new things that are both staccato legato. So they are something else. It's a basically a more intense version on the staccato. So I'll just go right intense staccato. Next two are nice and connected. A and same thing. First two are the intense staccato, so super short and very abrupt. And the next two are legato, so they're nicer grant to. So the way we play they use is as soon as we play, but not the right. So they abrupt and shorts on the first two and then very nicely connected. So there is a beautiful contrast that we make with these. And obviously over here is just all the goddess, so du. And then we get to this point. Now, what is this thing? R i t dot, and then I'll tempo. So what are those things? So, alright, T stands for ritardando. Well, what ritardando means is basically slow down. Alright, so the tempo slows down gradually. And here we have a motto for Mata, tells us to slowly calm a pause. And then the temple over here tells us to go back to the original ten. Okay, so let me walk you through exactly what's happening once we get here and we get to ritardando, we basically start slowing down. Alright, so instead of just buying the right, so longer than we normally would, even longer than we normally would super duper, duper loan. And then we get the FIR model, which we will slowly come to pause and we'll just stop. We don't play anything for like a second or two. And then we go ahead and start playing and we play at the original tempo stein. Ok. So basically the boss, that dot, dot, dot, dot, dot, dot, right? So we go back to the original tempo, gay. So hopefully the concept of ritardando and our tempo and also the firm out up. Hopefully that all make sense and you understand what's going on. And again, you can see this in action what we, when we play the song for you to let you know how it's supposed to be played. Okay, so let's go ahead and take a listen that so you can see this in action. Now it's ureter makes sure you understand every concept that we talked about. If you have to take notes, go ahead and do it. If you have to rewatch the video, go ahead and do it. And once you're ready, practice the sound and see how it goes. 47. Perpetual Motion - Song #9: Our next song is called perpetual motion. Now this is a really straightforward zone. There's nothing crazy about it. However, the straightforward ness of the song could be a little deceiving. So make sure that you don't get the same by how easy it looks. Specifically, one thing that we need to keep in mind is that every single note in this song is the exact same length. There are no shorter notes and no longer notes. They're all the exact same length. And that's very important. Ok, so now let's go ahead and take a look at the notes together. You know exactly what's going on, but overall should be pretty straightforward. Alright, as we discussed, this is a pretty straightforward song. The only thing that we need to pay attention to is that every single note is the same length. So we have infinite. And that's it. We don't have any quarter notes and 16th notes. It's all eighth notes, as you can see, all eight dots all over the place, right? Nothing else to see here. Now, let's just take a look at these little things as well. Before we move on. What these things are saying is that basically he sort of playing and open E string. You could also play the fourth string on a. So basically there are two ways to play this. You can either play just the open E string or play the fourth finger on a, alright? And you could do either one, whatever is more comfortable for you. There will be times when we're instructed specifically to play the fourth finger, and that will be indicated by just putting a floor instead of that. So instead of just writing this, they would write something similar to this. They would not put that, they would just put a four. Ok. And if you see that, that's basically telling you it's better not to play open strings butter to play the fourth figure. But when they put it like this, where it's, you have to 0. But it's also like, hey, if you want to, you can use for as well. That basically means it's up to you. You can do either one. You know, for training purposes. It might be good idea to at least try with the fourth finger MC, other groups. Okay, now let's go ahead and take us in The Song to see how it goes. So for you to start really do, try, cell goes and look. 48. Allegretto - Song #10: Our next song is called allegretto. And in this song, we encounter a lot of accents. Now what our axes accents are, those little signs that indicate when he to intensify specific notes. So let's go out and take a look at all those notes into song. And also specifically, let's take a look at how accents determine how we play the song. Alright, so accents, accents, accents. Let's go take a look at them. So these are the signs that show us accents. They were smoked same ways. Accent. And they basically mean play this note and tense. Okay? Now we also see some dotted accents that just basically means this note is both accented and staccato. So it is both intense and short. Okay? And we see that a lot, obviously, we see a lot of staccato knows almost everything has to God or the only notes don't have a staccato is this half note right here, and this other half and everything else is staccato. And of course we have ritardando, which means we slow it down here. For a motto, which means slowly pause. And then after that, we have a tempo which means original. Temple. Alright, we discussed all of this just to reminder of what these are. And obviously you have some dynamics going on with them and so forth days. We have real nice decrescendo, right when we're going and doing the return on the thing. So we're slowing down and we are making our sound softer as time goes by. And then it will slowly pose, and then we'll go back to the original tempo. Okay, so hopefully everything makes sense. Nothing too crazy going on here. And the rhythm of oxygen have a pick-up over here, as you probably noticed. And the rhythm, for the most part, it's pretty simple. It's mostly just 1234, right? And you can see that across many bars, that's the case. And then sometimes we have this other thing where we have one, then nothing for free, for three. And then we have format. That's the other one that you can see. And then everything else is pretty much straightforward and stuff that we already discussed and learned. So you should have no problem plaguing us one. Now let's go ahead and take a listen to see how this is supposed to sound like this. Now it's your turn to go ahead and try to sound out. Make sure, you know, forget about the accents and the stakeholders. And goodbye. 49. Andantino - Song #11: Alright, now this song is called and-and Tino. And this song is actually also pretty straightforward. We've pretty much covered everything that there is in this one always we have to axons that we just learned that last song indeed occur a little bit different Maslow. So last song we had accents on staccato us but the sun, we have them on the goddess. So a little bit of a different feature over here. Yeah, obviously return on know, as well as the crescendo at the same time. Another retard on over here. And for the first ritardando, we got a temple right afterwards. But for the second one, builders on it because we just ritardando until the song ends. Basically, I ofcourse we have our fermata over here, which means we slowly pause. We pause right here, and then we continue with a ritardando tempo. And then everything else is pretty straightforward. We have recognizable rhythms. 1234. You have over here 123. And of course this is the easiest one to 1234, right? So everything in the song should be pretty straightforward. So let's go ahead and see how exactly it sounds like something. You can try it on your own. And then there, go ahead and practice a song and see how the fuel load. 50. G Major Scale and Arpeggio - Beginner Violin: Alright, it's time for us to learn our very first two octave scale. And that is none other than the G major. And the G Major starts on the G string, which is the lowest note that we can play on the violin. We go all the way up to the gene on the D string, and that's our first octave. And then we'll go all the way up again to the second finger on the E string, which is the second G we encountered on the scale. That's our second octave. Now, I want to take a second and discuss something really important that you remember how we always talked about second finger on a, or at least we're positioning our second finger on the a string, C-sharp and was not C, it was C-sharp. Same thing about second finger on the E string. The place that we put our finger was G-sharp and was not g. Now, the reason why it was so important for us to understand that is because if we are to play those notes in a national position, we actually have to put our segment your S elsewhere are second finger on the a string. What have to be right next to our first finger in order to create C-natural. Now, why am I even bringing this up? The reason for that is because in this scale, C is natural. So what that basically means is that we never play a C Sharp. Same with G. We never play G-sharp. We have to play G-natural. So what we have to do, the adjustment that we need to make is that on the a string and on the E Street, only, our second finger will not be in its normal place. It will be right next to the first thing. And when I say right next to it, I mean there is no gap between the first and the second finger into right next to each other. They're basically touching each other if the access. So that's something really important. If you don't do this properly, the scale isn't going to sound rate. So we have to make sure the secondary neuron that a string is a lowered and it's right next to the first finger. Same thing with the second finger on the G string. This however, does not apply to the D string and the G string on DNG we played a psycho finger will be always did before this, write in an elevated position. The reason for that is because the F and this get in the scale is sharp. So we're supposed to play all the F sharp. So the scientific non Nice, which has the F sharp, needs to remain exactly awareness. We don't change them. So the only thing we're changing then this scale is the second finger on the a string, which we're bringing it down right next to the first one. And the second finger on the E string, which again will bring it down right next to the first one. So I would really encourage it. Make a note of this. Just because this is so easy to forget, because we've gotten used to playing the second when you're in an elevated position. And we gotta make sure that we make the adjustment when it is appropriate. For example, right here, we need to make the adjustment of playing the segment when they're lower on two of our strings and higher on the other two strings. So let's try the G scale together. Do you still starts on the G string? And we're basically play every single note until we get to the second finger on the E string in a lower position. So I'll play it once. So you have an understanding of oligos and then when he tried to get So, so basically just to walk you through it, equate G, first fingered, second finger, third finger. D, first finger, second finger, third finger, a, first finger, lower second finger, right next to the first 1, third finger. And IEP. First linger and a lowered second finger. And we come back down. First finger, E, and an E string, third finger, lawyers, I give anger. First finger a, and the D string. Third finger, second finger, first finger, dy, on the G string, third finger, second finger, first finger, just the G string. Right? Now that's tried together. Hopefully you also have the notes. They are attached right below this video so you can actually grab the notes as well. And let's try it again. No charge again and one more time just to make sure we continue to understand what's going on. One more time from G. Now let's try the arpeggio. D arpeggio goes as follows. G, second BIG D, finger on me, first finger on a, third finger on a. And is lower second finger on the G string. And then just come back down, starting on a first thing on, hey, third finger on D. Just d and the second Ming grungy, and just G. Alright, so again, you have to notes. You should be able to follow up on that. So let's try the arpeggio together. Let's try one more time. Now. You want to try to skill and arpeggio together. Let's read together. All right, hopefully you have a grasp of how we're supposed to plead us. So play a couple of times on your own practice and a couple of times. Make sure you have a better grasp of how to exactly plate. And we are ready. We can move on to the next video. 51. Etude - Song #12: Alright, so our next song is called a 2d. And this one is a rather interesting one. So every single note is an eighth-note except for the very last note. Okay, so as you see, the very last note is a half note, but every other note is an eighth note. So everything else needs to be the exact same length and we played them. Okay. Now, I need a 2D is referred to songs that are meant for practice and are usually help us with different techniques. So this one in specific helps us with a lot of fingerings and also changing the strings. And it is a very good piece for, basically, for us to take our next step in our development right? Now, usually for a Tod's, we don't really worry about dynamics too much. That's why we only have one dynamic. We only have mezzo forte, and then that's it. There's no change in dynamics because that's not the point of attitude. We're not trying to invoke and emotion from the audience because this is not really a song they were playing for someone that's more of a practice and an avenue, if you will, for us too, learn and hone our skill set. So it should be pretty straightforward. Again, the notes, you should be able to read them by now. Hopefully, you have a down so far. If you don't, that's fine. You can still write them down underneath, but overall it should be pretty easy. There is no difficult rhythm because again, everything is just an eighth note, so everything is the same length. So just give it a shot and see how it is. And obviously you can hear us play it as well. So you have an idea of what your, what you need to sound like when you play this. Go ahead and try it on your own and see how you fair. Remember to always start practicing at a slower tempo. And gradually as you start learning, the notes, gradually bring up the steep gopher. 52. Minuet No. 1 - Song #13: Our next song is called Minuit number one by Johann Sebastian Bach. Now this song implements a lot of dynamics, mezzo-forte a's and pianos all over the place. So let's go ahead and take a look at the notes and underlying and circle all the important elements. And as we move forward, it's really important that anytime we look at the sheet music, we always circle or highlight whatever works best for you. All of these different elements. Because you know, specifically when you're starting to learn a new song, it's going to be hard to keep track of everything. So highlighting or circling always helps out. So let's go ahead and take a book together. Alright, so as we discussed, we need to highlight or circle clickable things. Obviously, the dynamics, we need to make sure that we keep track of them. So you have mezzo forte and the beginning. But it's important to make sure we change the piano over here and we keep it at piano all the way until we get to the next one, so 40, then we stay Adam and so forth until we get to the next piano. Piano until we get some nice metaphor to, okay, I mean, that sounds pretty simple, but you'd be surprised how easy it is to forget to do all of this, right? So that's why we always make sure that we either circle or highlight these in order to make it a lot easier for us to pay attention to it. Okay. And another thing I wanted to talk to you about was these staccato on the slurs. So remember, we're supposed to play them on the same boat, but separate them and make them shorter. Okay. So they are shorter and separated on the same bool. Okay, hopefully you can recall that. And the rhythm, there is a couple of different ones but nothing too crazy. So obviously over here, 123, that's pretty straight forward. Here we have 12313, again, I think crazy 123. And as you probably noticed, this is a 34, which means three beats per bar. 123. And then of course we have one over here where it takes up the entire three beats. Remember, because it's a dotted notes. So two plus half of it, which is one, it goes three beats. Distributing all the stuff that we've covered so far to make sure we're not forgetting anything right? Now. Obviously F, C sharps over here. And then we have a C-natural over here, which means that we need to bring down our second finger. Lower. Alright, so number with the G-Major, where we talked about the second finger on the E string being lower, where this was the case over here. This is a Loris I can finger. But over here we said, you know what, this one time, let a, B, C sharp. So this is important too. If you want to highlight this, you would now be the worst idea ever. Because we gotta pay attention to these accidentals, right? We don't know that it's a C-natural over here, which means our second finger is low on the a string. It's a C-sharp over here, which means our second finger is high on the E string. Same over here. And I'll also remember anytime we have one of these accident, those meaning why these sharps or flats inside the music. Anytime you have that, that remains the same for any other times we see that note in the same bar. Ok, so in that one bar, we see C-sharp twice. Okay, so this is also C-sharp, even though it doesn't say right next to it, because we had another C in that bar that was sharpened. This is also going to be C sharp, okay, very important. Again, this is another thing that is really easy to forget about. So highlighting wouldn't be the worst idea. And we have another C-sharp over here, again, higher Segev finger. Now they're C-sharp over here and another one over here as well. So it would not be the worst idea to highlight these. And then over here we'd go back down to C-natural, okay? Meaning that now it's a lower fixed second finger on the a string, okay, and it's the C-natural for the rest of the song. So this is all C-natural. Alright, hopefully I'm access, but that everything else should be pretty straightforward. And Yep. Go ahead and take a listen to see how it's supposed to be played. Now it's your turn. Go ahead and give it a shot. 53. Pizzicato Vs Arco - Beginner Violin: In this video, we're gonna talk about what is pizzicato. Now, pizzicato is when we use our hands or our fingers, is sort of the bulb to create a specific sound on the violin. Let me show you an action. Let's say I'm playing something really simple like. But it has a pizzicato sign right above it. And a pizzicato sound designers usually just PIE Zed and adopt, right? So if it has the pizzicato signing right above it, what it basically means is that instead of just doing a normal sort of doing that, we're supposed to play like this. Now, what we're basically doing is we're plugging the string with our finger to create the sound. Basically you with our fingers setup with the book. And it obviously creates a very different type of a cell. And sometimes what they use this for is for creating specific sounds. So for example, in the piece winter by Vivaldi, what they use this for is to create sounds kinda like a Santa was snow or a kind of sound like a rain. Kind of sounds like that, right? So it's basically used mostly an orchestral setting to create a specific kind of sound effect. It's not a very common technique. You don't really see it. Definitely those who hadn't every single song, but you don't even really see it. That often, like out of every ten songs you play, maybe one of the aspects that caught on it. But maybe even not, maybe you could maybe even not find any pizzicato in any of your songs, right? And the songs that we cover in this course, I believe only one of them actually has PepsiCo. However, it's still an important technique to know because it's a very basic technique. There is nothing crazy hard about it. And when it does come up in a song, you need to know how to get, basically need to know how to perform it. So let's try and together. Let's try the same thing, just a, B, C sharp, D. And instead of using the bowl, we're going to pluck the string, okay, but before we try it together, let me show you exactly how we plug it. First of all, it's really important that we don't let go of the boat. Because, well, let's say I put the bow down, right for this and let's put it here and just use my fingers. Right. All well and good, right. Well, not exactly because what if I'm supposed to play in their nother note right afterwards that I need my Beaufort, right. Let's say this woman I'm supposed to do, but it sounds supposed to play. Right? Let's say that's what we're supposed to play. If I don't have my bow with me, if my bows just resting Sumner somewhere else. And after rushed again my bow and then just adjust my hand and then. Basically by that time it's too late, right? So that's what we always need to have our bone or hand ready to go. And we don't really want to lose our grip on it too much. Obviously, we can't just hold it like this because we need our finger to be active and be able to use, basically needed to be plucking the string. However, we're going to do the best that we can to not change the way we're holding the ball. Not as much as basically don't change it too much. Because we wanted to be able to go back to boiling right away. So the best way to do this, I was too. When you're holding the boat, it's extending your middle your index finger, and then use your middle finger as an anchor right over here, right? So, and basically rest our hand on the violin using our middle finger, just like that. And then we lock away with our index finger. And there are other ways to do it. Some people like to use their middle finger, but I just always found this to be the best way. And he's a middle finger, just to put it on the violin. So we have a nice grip over our plucking. As takeaway. I want you to try this with me. So try holding the ball properly and then sending these two fingers without changing anything else by how you're holding a book for one on the violin and then used later on to pluck away. Now, if you need to pluck away, let's say you need to pluck away with a forte sat, right? So it's, it's a prolonged piece, part of the piece because this sometimes happens to. It's a long chunk of the piece where you're using pizzicato. And they all need to be super loud. And they need to be super intense. And you just can't really cut it with this. Another way to do it is to lose our grip on the boat. Use our thumb to hold tight and then we can pluck away much more intensity. Obviously downside of this is that we're losing the way we're holding the boat. So we can't really go back to playing right away. We have to do this whole thing where we adjust back into position. However, the upside is obviously that we can pluck away much more aggressively. And we can create a much louder sound. But usually for the most part is not required. Usually. This is more than good enough. Okay? So just keep that in mind. This is another way to do it. But this one is not required or not, at least not everywhere because it's just too hard to go back to the way we hold the bow. And this should do just fine. Alright, so try both of these, mostly the first one. And we'll try to get a little bit in the next video. 54. [Training] Pizzicato - Beginner Violin: All right, let's try first, train together a little bit. Remember, anytime you see the sine PI Zed, Zed dot, that means we're going to pizzicato, which means we have to pluck away anytime see arco, ARC O dot. And then you have to go back to using our rule. Now let's try it together a little bit. Let's say we have pizzicato, a, a1, a2, a3, then arco, E1, E2, E3. Alright, so one more time we go. Let's try together. One more time together. Now let's try the opposite. Let's try E3, E2, E1, E A3, A2, A1, a, first for a print Chicago, next for arco, servomotor while astype together. Now let's try. So we're doing second finger on the finger on the a, a1, a2, a3, u0, u1, together. When we die. Now I want you to try these a couple of times specifically, I want to have a no pause between that's a goddess and the arccos. Okay, so if you are pausing what he needs to, it's really important that we eliminate that or at least reduced as much as possible. And make sure that we can transition from the pizzicato phase to the article phase as fast as possible. Okay, so again, make sure that your form is good. You're still holding the ball properly with all the other fingers that are not involved. Remember, these two are the only ones that we own that we need to be involved, right? The other ones stay on the ball the exact same way that they were before. Alright, so make sure your practice is that a couple times. And once you've done that, then we have a pretty good grasp on how we play pizzicato on the wildlife. 55. Minuet No. 2 - Song #14: Our axon is called minuet number two, also by your house basketball. Basically it's the second part of the previous song. We play it together. Now let's go ahead and take a look at the notes because this is a long song. So there was a lot of software now. So it's important that we break it down. So let's go ahead and take a look. Alright, so this song is actually the longest song that we have in the course. And let's get right into it. So as you notice, we start with a lot of Legos. So in the beginning of this song, We are very nice and connected. Very smooth transitions. And right away we're met with this guy, which is a more intense version of staccato. So intense staccato. And then we have just normal stuff autos right after as well. And then again back to this thing right here. Legato is all around, right? So all smooth. So you see this contrast that we have to manage. So you have to go connected than smooth and everything and then ramp, we kinda crash with this intense staccato and then to normal staccato rows. And then afterwards we go right back into another legato. So there's a really nice juxtaposition of the two different aspects over here. In an obviously, when the third line, we have the exact same thing as the first line and we actually get the exact same line later on as one. So just be careful that we apply the same things over there as well. Now, I just want to run through this guy right here. This is what we call triplet. Now, what is it that was a three at the bottom? Well, a triplet is when we sort of breaking down notes into twos and fours, we break it down into threes. So this was a quarter note, this was equivalent to one beat. And this is 2 eighth notes, right? So each of them are half a beat. So half beat. Right? Now, the way a triplet works. And the triplet is identified by the three at top. That's what that means. It means that it's a triplet, not just a regular eighth-note there, each 1 third to meet. So three triplets together equal one quarter notes. Alright? So this thing right here, basically each of them are third beat, third beats, and third beat, right? And we have two more of those. We have one right here and here. And these are slurred in this case. So we have to make sure we play them slurred. And the, all the three of them together have to add up to one beat. Exactly. Okay, so it sounds a little bit different and you can just pay attention when we're listening to when I'm playing the song. And just pay attention and see how they suddenly clearly sound different. When you play three, each of them a 30 beat, you play the three of them as one beat accumulatively. So pay them with that. And obviously it followed immediately by two staccato is on the same boat slurred. So remember, we detach them and we make sure they're Schroeder. Right here. We have a D-Sharp now, I don't believe we've seen a nice sharp before in this course. So we're just gonna make sure our third finger is higher and it actually goes right and x to the fourth finger. So this is how we identify. This sign right here means that the fingers are right next to each other, so there's no space between the two fingers, right? So the third finger in this case, because it's a sharp, is right next to this fourth finger right here, which is of course e. And then we're back to this third finger, that race third finger again. So another D-Sharp. And then we go to an open E string. So this one right here is not an open E string because it'll be easier to just keep the third finger on, put a fourth finger, and then remove that fourth finger to play that third finger one more time. It's much easier to do that rather than Plato third finger. And then potentially do open string and then have to go back to third finger. That's just more difficult, right? So it's a lot easier to make sure we play this one as a fourth finger, okay? And of course we'd go right back to playing D natural for the rest of the song. So that's just a one time thing. Okay? That D-Sharp only happens right here and it only goes to that happen. And obviously have more staccato zone slurs all over the place. Dynamics are always important to pay attention to. So the first four lines as four tenths and nothing too crazy. But then we have piano that we have fever cough. And then we'd go back to mezzo forte in other piano over here. And again, it's a good idea to highlight these because it just makes it a lot easier for you to notice them when you're playing the song. And again, one of these guys, these investigate photos and to stick out as before, the end of the song. Okay, so a couple of things to pay attention to, but other than that, pretty straightforward. So that's pretty much what's going on in this one. And let's go ahead and take a listen and see how it's supposed to sound. Yes. The question. Now it's your turn. And look over the notes and give it a try. 56. Minuet No. 3 - Song #15: Our next song is called menu item number three, also by Johann Sebastian Bach. Now this song has pretty much everything we've learned so far in this course. Everything that we've learned is jam-packed with Assad. And there's even a couple of new little things that we're going to learn right now. So without further ado, let's go ahead and jump right into the notes of a song. Right? So in this song, we have something new here. So what is that thing? Well, this is what we call a grace note. Now, a grace note is a note that's played very short and very abrupt and it just goes away immediately, right? So it's kinda like just play for a second that we play the next note immediately. Okay? Basically, in this case, because it's the first finger and then we have an open string, a. We just put our first finger down for a second and women immediately remove it, right? So just think of it as if you're touching something really hot and immediately remove your hand, right? Because it's super hot. That's kinda the same way we play this. Okay, so we just drop our first finger and we immediately removed it. Okay. That's how a grace note operates, and it sounds really nice. And again, you can listen to the way we play it, see exactly how it sounds when you play properly. But yeah, I mean that everything else we have pretty much covered throughout this course. But again, it's worth going over. We have the stakeholders on the slurs and everything started legato. And again, this song is pretty continuous and very smooth anyways, and in general, except for a couple of times where we break out of the status quo. Of course, with this, the condos, and they're meant to be kind of a little bit of flavor in the song so that it doesn't get too stale by staying in the same style for too long, right? So they're just kinda little flavors and spices all throughout the song. Now, let's take a look at the dynamics as well. Of course, we start with mezzo forte. And for the first three lines, nothing crazy, just a metaphor tab, pretty regular. Then we change the forte. Nothing too crazy about that either. And this is the first real dynamic that we have to deal with is the decrescendo at the end of here. And this is rather easy to crescendo because it's on the same note right there. We're not playing different notes while we're also doing a decrescendo, we're just doing it on the same note, so it's a little bit easier. And of course, we start from forte because that's the last dynamic that we were given. So sorry, forte, and then we end at piano. And that would keep it piano for the last two until we get to this crescendo. And then we can go a little bit higher. How high up? It's up to you really, probably mezzo forte, there will be a good idea, but you can go for Type you want or something along those lines. And then we, of course, the crescendo over here again, so we can end a little bit more. Maybe it admits a piano or something would be a good idea. But yeah, that's pretty much it. Everything else is pretty straightforward. Again, we have this thing here where it gives you the option of, if you want to, you could play that open E string if you wanted to. You could also play the fourth finger. Again, whatever you're most comfortable doing. Same thing over here. But other than that, everything is pretty straight forward. Some times the C is sharp, that's something that we need to be aware of. Some of the times it's not obviously because, you know, similar to the G major. By default, the sea is natural. Okay? So our second finger by default should be Lord, unless we see a specific place in a song saying that it's sharp, where our second finger is actually higher. Okay, so that's pretty much the stuff that we need to pay attention to for the sunk. Everything else should be pretty straightforward. So now let's go ahead and listen to see how this is supposed to sound like. Now it's your turn and go ahead and give it a try. This might be the hardest song, you know, so far, but with a little more practice, you should be just fine. So go ahead and practice. 57. Performing Double Stops - Beginner Violin: Alright, now we're gonna talk about double stops. Now. What are double stops? Double stops, or when we play more than one note at the same time on the violin. For example, let's say play the a strength at the East shrink at the same time, we end up getting something like this. Right? So that's a double stub. The way we play double stops is that we basically put our boat in a position where it's touching both of the strings that we intend to touch, right? So right now, I want to play the a string and the string at the same time. So I have to find you the exact right spot where I'm touching to both of these strings and play both of them at the same time. Now, obviously, double-sided can only play through FY two strings that are adjacent to each other, right? So I can't do the E string would the G string, right? Because there's just no physical way to do it, right? However, there are some stop there. There are some ways to play more than two strings at the same time. But if you just want to play two strings, they have to be adjacent to each other. Okay, hopefully that makes sense. Now, when we play double stops, sometimes we have basically no fingers. Just like now we played the a string and the string together without any fingers on either string. Sometimes it's just as simple as that. Some other times we have our fingers on one of the strings. For example, let's say we're playing something on the E string, and we'll find that a string at the same time. So for example, in this SS, I was playing on the E string and I was playing a string. Just the old ministering at the same time. Or we could do it the other way. Maybe you were playing the E string as just know, blistering and playing into a string. And a simple. Now the first one is much easier because our fingers, when we're putting them on the Eastern, we're not really going on the a string, right? So it's really easy to play the open a string. However, when we do it the other way and we're putting our fingers on the a string, we have to be careful that our fingers don't go on the Eastern, right? Because it's right that if we're not putting our fingers properly, remember how we talked though, we have to go over and come on the string. This is one of those instances where this is even more important because we have to make sure we're not touching the eStream at all for this to work. Alright, so if I were just starting to use string, see how that works out. Not so great, right? So basically, any slightest touch on all constraint is going to make it sound really bad. So we have to make sure we're putting our fingers down a stream without touching the Eastern, right? Just like that. Let's try one more time. Again. When I pray, let's say the second finger. Take a look at my fingers, right? I am going out of my way to make sure I'm not touching to eat, drink because I'm coming from above, right? I'm not coming like that. I'm going from above. And then putting it down on the specific, on the specific string and not touching this Eastern at all. Hopefully that makes sense. Now there's a third type of double stub, and that is where we use our fingers on both of these strings at the same time. Now this one is a little bit more difficult because we kind of have to think about two different notes that were playing it simultaneously and changing both of them every time. For example, in this instance, I'm playing something different on the eastern every time. And I'm playing something different on the eastern every time. And I have to keep track of both of them, right? So this third type is a little bit more advanced and a little bit more difficult. So we're not going to tackle that right now. Right now, let's just focus on the first two types. First type, easy one to what my strengths. And the second type where we have notes being played on one string and the other string is just an open string. Ok, so these are the ones we're going to focus on right now. We're going to proceed to train a little bit with these types in the next video. So follow me over there so we can train a weapon. 58. [Training] Double Stops in Action - Beginner Violin: Alright, it's time for us to train a little bit with the double stops. So let's pick up our violin and let's try the easy version first, just to open strings. So again, there's exactly one place where we're touching both of these strings. C, i becomes two E-string somewhere around here. And there's a string and around here. But there's only this one area where I'm touching both of the strings with my bow. So find out place. Make sure you're on Multinom. And you wanna nice and clean strength boat. Because if he doesn't go in a straight line or if we deviate even a little bit, we're going to lose one of the strings, right? So while we gotta train a little bit here and making sure that we played both strings at all times. So we don't go over play Mozart's. Oh, now we're playing just one string, o now or by any other string, but never both on at the same time, right? That's all we want. We want to make sure we're on both strings at all times, still on both strings. Dilemma illustrates stone both strings. Ok, so at all times RON, both of these strings, and we're getting a nice and clean strike on both of them. Okay, so let's try it together. A streaming E-string, find out area. And when you're ready, let's try it together. Hopefully you're able to play both them at the same time. If you feel like you're losing one of these strings, like let's say you were doing. And, and that happens where you lose one of the strange right. You all of a sudden switch to play in just one strand rather than both of them at the same time. Then you need to practice a little bit going in a very straight line without deviating, okay? And that could be a little tough at the beginning, but as you do it a couple of times, it should get much easier. So let's try it together one more time. Let's find that area. Whenever you're ready, let's try both of the strings at the same time to Eastern and the E-string. One more time. Make sure you're not losing any of the strings. Excellent. Now let's try playing some notes on one of the strings, keeping an open stream and Yada. So let's go with the easier one, which is having the E shrink as the one that we're putting our fingers on, a string as the simply open string double time. Now, Oregon trial is, we're gonna try E, F-sharp, G-sharp, eight on the E string. And of course we're just gonna keep the open a string on it. Okay, so let's try and together. That's what we're going for. Ready? Let's try one more time. Again. Focusing on your left hand fingers might distract you from making sure you're playing both strings at the same time. Again, if you find the Europe going off one at Western or the other, let's make sure we can keep the bot on both strings at all times. Okay, so again, if you're struggling with that, practices, the only way to fix that. So practice it a couple of times. Let's work one more time together. Make sure the bull was between the two strings, were touching both of them. And the way we go one more time, one last time just to make sure we're good to go. Awesome. Now let's try the tougher one, if you will. Can tougher one where we are putting our fingers on the a string and we have to make sure we're not touching the E string because the E string has to be open string at all times. So we have to make sure we elevate our fingers. We come from above and put it down without touching the E string. As you see, I'm not touching the Eastern at all with my fingers. So all the fingers on the a string, no touching me String. Let's try it together. And before we actually do it, I just wanted to let you know that if you are struggling with this one, that's completely normal, this is actually a little bit tougher than the other version, and it is something that most beginners struggle with. So don't worry about it at all. We just have to practice to make sure we are comfortable with performing this. Okay, so let's try it together. So we're gonna do the a string of the E string, and we're going to play a, B, C sharp, D on the a string. Okay, let's try it again. One more time. So I'm together. One more time. Make sure you're not touching the E string with your fingers. If you are, try a little bit odd or tried to make sure our fingers are elevated and they're not coming over on the east shrink. Let's try one more time. And one last time. Let's go together when we're done. Fantastic. Now let's try to other strings. And let's try something a little bit different. Let's try it with a string ended D-string. And this time we're going to start with all fingers down. And we're gonna try D, C-sharp, b, a on the E string, or an Eastern rather. And were also playing a D-string at the same time. Okay, so it's going to sound something like this. Alright, let's try together. One more time. Dx, d sharp, wall, we're playing the open D-string. Hopefully that wasn't too hard. Now let's try the harder one where we're putting our fingers on the D string. And a string is dual constraints. So we have to make sure our fingers about touching the eStream it off. It's gonna sound something like this. The charm together, d, or sorry, G, F sharp, D is what we're playing on a district. And a string is just an old history over time. And one last time. Let's try it together. Alright, hopefully we're starting to get the hang of this. Again, you need to practice specifically the harder part. You need to practice and more often for it to become a lot more natural to you, right? This might sound a little weird. It might be a little tough to not touch the E string, for example, when we're trying to double stuffs. And the only remedy is practice, practice, practice. So practice this a little bit more than you usually do because it's a little bit of a tougher concept to perform, practice it a couple of times and I'll see you in the next video. 59. The Happy Farmer - Song #16: Our next song is a happy farmer by showing. Now let's take a look at notes together. Because there's a couple of areas that might be a little tricky and we need to discuss it. So here we are at our penultimate song, The Happy Farmer by Robert Schumann. Now, we obviously have the pickup over here. And as you notice, this entire sum is 14 separate. Basically, it's always right. So if it says fourth December, that means four to throughout the song. So as you can see, it's all fortes all over the place. And let's get into the song. So we have some staccato, obviously that we need to be aware of. We have some dotted quarter notes. And basically the way these work, remember that 13 and rhythm. That's how the rhythm here works. And we see that a couple of times. So we see that over here. We see that over here. And just be aware that on the ends we have a short-lived. So it's kind of like lawn at three, right? So it kinda goes like that. It's a very shorter version of gans. And of course we have them. It rests, which last for half a beat. And we have those two or three times. And everything else is pretty self-explanatory. There is nothing too crazy here. Only read rhythm we have to be aware of is the one that we just discussed. The rest of the rhythm is pretty straightforward. So with that said, let's go ahead and see how the song is going to sound like. Okay. Now it's your turn to give a shot and circles. 60. Vibrato Explained - Beginner Violin: In this lesson, we're going to learn what is vibrato. Now, vibrato is basically when we use our left hand fingers in order to make a nicer sound out of the violin by just vibrating them, right? So I'm going to play a song for you. I'll play normally first, and then I'll play with vibrato just so you can see a difference, right? So this is how I would play the song without vibrato. I, let's try the same song with vibrato. As you probably noticed. What I'm doing is I'm vibrating my fingers in order to make just a nicer, more well-rounded, sad. Now, the motion of the plateau as something kind of like knocking on a door, right? You're just going back and forth just like that, right. And they figured and you're vibrating is the one that sticks out the most because that's the one that you are focusing on. And that's the one that has to move the most, right? So let's say I'm vibrating. My second thing, my second finger is fixed in its position, but it's going back and forth just kind of like that. It's my raiding right. Now. This vibration mostly comes from your wrist. Same way that you're not gonna do it, right? You just kind of do this, right? You don't do your entire hand. Eight and just do the finger, right? You do the entire wrist back and forth, right? And that's kind of what we do. Now. This might be a little tough to implement at first. So the best way to try It is just put any of your fingers. Let's say we're starting with the first finger, first finger down, and just try going back and forth just like that. And the motion has to be for your wrist. Just be careful. Just like it. And I try and little bit say you're manner. Try to third finger. Try to forefinger. Okay. So again, this type of emotion, we're just like knocking on the door. We're going back and forth. Okay. The only difference with knocking on the door is that one of our fingers is fixed. So I entire hat and our risks specifically is moving the same way. But with one offenders need fixed. That makes sense. Ok, so the fader is fixed right here. The rest of that hand moves exactly the same way it would as if we're knocking on a door. Okay. So let's try one more time. The first finger. Second finger. And you can try along with me. Third finger, forefinger. Okay. Now what this does is that we the tip of the finger and we put down, ends up vibrating, and ends up vibrating string. Alright, so if you look at the string right here, that position where I'm holding this drink is changing ever so slightly and it's vibrating back and forth because of the vibration of my hand. And that is what's causing the sound to be a lot more well-rounded. Just like that. Hopefully you can see this, but slightly back and forth just a little bit. It's like that. Okay, so this needs to be practice. This is a really tough technique to learn when you're learning it for the first time. So if you can't do it right now, don't worry about it. That's completely normal. And we need to spend quite a bit of time. I've seen this one before. We can actually do it properly. So the best way to do it is just think about that motion and try to do it slowly at first. On the violin. You can even put the tip of your violent against the ball if it makes it easier for you. But if you can do it this way, that's fine too. But just try it with me a little bit. Pick up your violin. Let's put our first finger down. And let's try this motion, right? And again, the motion originates from our wrist. Fourth second finger back and forth. Their finger back and forth, forth and back and forth. And again, if it's hard for you, you can do Ito's slower, you can just do this. See how I'm going back and forth, but much, much more obvious and much slower, right? This is what we want to get to where we're doing super-fast. But if that's hard to do this. So we kind of used to this motion where one of our fingers is in place. But I had is as basically moving and vibrating originating from our wrist. A little bit slower. And try this a little bit. Okay, so practice first this way where we go back and forth. And over time, practice doing it more rapidly and see how that goes. Okay, so once you feel a little bit more comfortable with it, then we can go to the next video when we train a little bit about how we implement these, these vibrations as we play. Well first, we need to make sure that we can actually perform this. So don't move on to the second video before you ready. Okay, so take a little bit of time. If you need to take it a couple of days, just practice this back and forth, back and forth. And you're going forth, back and forth and forth, back and forth until we can actually get to a place where we can comfortably do it. Okay? And once you're comfortable with it, then we can move on to the next video when we train a little bit with this new skill set that we've learned. Okay, so good luck with that, and I will see you in the next video. 61. [Training] Vibrato - Beginner Violin: All right, hopefully you had a chance to try. This is vibrato type fake, awfully sorry, like that. And you've got to a place where you can kind of performer like this. Again, the checklist are make sure the motions originating from your wrist. So if it's not, that's what we need to look at, right? If you have a mirror, just take a look in the mirror, see how your motions right. Because we've gotta make sure your motion is proper Before we move on to change with each other. Okay. Let me your movement makes sure movement originates from your risk. Go back and forth like that. And just take a look at the fingers where you have them on the screen and see if the motion is proper. Alright? And of course the lastest is just take any of these fingers, let's say if second finger, for example, and just play it and see how it sounds. So it should sound something like this where I can hear the vibration clearly, right? So if you have something to be similar to that, it doesn't have to be as intense. Maybe yours is a little bit more little bit more nuanced now, that's fine too. Again, you'll get more comfortable with it as you practice along with it. But we just want to make sure that we are on the right track. Ok, so if you are that stage, Fantastic, let's do a couple of exercises together. Here's what we're doing to the first one is we're going to play the a major, a major Eastern, go all the way up to a third finger on the E string, right? Don't try that with vibrato. So any tolerant but any of the fingers bell. I'm also going to vibrate to abyssal Troy along with me. Try rhythmic. Alright, let's try the same thing with D major. D major sorted on these Friend and all the way up to the third phenomenon district. Together. Let's try one more time. Fantastic. Now let's try then G major and a member, the G-Major is two octaves, so it starts on the G string, goes all the way up to the second finger on the E string. Another thing to remember about the G Major is that the second finger on the a string is lower. It's right next to the first finger, and there's no gap between them. And the second finger on the E string is also lowered. Remember, that doesn't mean that the second finger on the D string is lower. Sediment down the string is still high, right? Where it was supposed to be. Same with the G string. It's only on the a string and the E string and a string and eat, drink that the second finger is lower and his right next to the first finger. Okay, now let's try the G-Major with vibrato. Let's write together. Now one more thing before we move on is that you probably notice that the open strings are not vibrating because they're open strings, right? There is no finger on those open strings in order for us to vibrate. So how do we vibrate the open strings? Well, there are two things that we can do. First one is just not played. Your constraint is that used the fourth finger on the previous string, right? So remember the force finger on any string is the same as the next string. Just play as an open string, right? So instead of playing a D-string, what I could do is just prayed a fourth finger on the G string and vibrate that. However, there is also another way that I'm going to teach you, and that is vibrating the third finger on the next string as you're playing this track. So what does that mean? Remember, this is G, But also the third finger on the next string is also the same note. It's also Jeep, just on a higher octave, right? So G at a lower octave, G and a hierarchy of, well, this is the interesting part, is that effort playing open string G, And we vibrates the higher octave G. What's going to actually happens? And we're actually going to end up with a vibrating sound for the open G string. I know that sounds weird, but adjust works, and that's all we need to know about it really. So take a listen. This is the G string. If I just play an open string, this is the G string. If I play the open strengthen also vibrates the third finger on the D string. Hopefully you can see the difference. I'll play it one more time back to back. So the difference is more clear. Alright, now it's time for you to try. Try it with me. Playing the open string Jie Wei and vibrating the third finger on the D string and the same time. So remember we are not playing the district where only vibrating it so that the string that we're playing is also binary. Ready. Let's read together. And let's try the same thing for the nice stream. We're gonna be open B string and vibrate the third finger on the Eastern at the same time. But China now strive to be a string where in print a string, third finger on the E string at the same time. Perfect. Now, you probably notice that we can't really do this for the Eastern because there is no string after the Eastern for us into this width. For the eStream, what we need to do is we just need to play the fourth, fourth finger on the E string. And that way we can get a vibrated version of the East what's trying to shrink the fourth finger on the E string and piping that won last time we spend together. Perfect. Now before we go, our one last training is let's play a G major scale. But this time we want to vibrate all the open strings. And facilitating the open E, we're going to use the fourth Pinyin, the E string so we can by big data as well. We'll try it together. Hopefully that makes sense. Hopefully you've been able to follow along with me. Again if there are any specific parts that you find a little bit more difficult or challenging. Goals are the areas where we need to practice more and put our most focused on. 62. Gavotte - Song #17: Our next and final song is, by far soils was that you sack. Now this won't be the toughest song we will do in this course. And of course, almost all the techniques that we've learned so far comes back in this song. So let's go ahead and take a look at it and review all the stuff that we've learned so far and see how they are implemented into the cell. Alright, so let's go over the song, which is supposed to be the culmination of all the stuff that we've learned throughout this course. You will notice that almost everything that we've learned comes up at least once at some point in the song. And we also learn about these Yao phi1 and phi2, which we're gonna talk about what exactly those things are in a second. But before we get there, let's take a look at all the staccato. So we have, so we gotta make sure we start with very short notes at the beginning. We have these intents to, god knows, we have a grace note right here. So that's how we played. So play g dot g, So g, f, g, f, not Orangi. So hopefully that makes sense. I know it's a little hard to explain over just me speaking about it. But if you're confused, just listen to the way it's played. Over here, we have another grace note, C sharp and D, so it kind of goes a, C sharp, D, D. Okay? So again, remember that grace note is just supposed to be a very instantaneous thing that we just put down and then we put down next. Okay. So same thing here, another based on other grace note. And of course we have the higher third finger over here because you have a C sharp on the G string. And this is supposed to be a higher third finger. Okay, so right next to the first finger. And then of course, the dynamics, there is a wide range of dynamics. And the song with mezzo forte is pianos. And the mezzo forte, of course you have the decrescendo over here, piano. And you'll notice in our cosine here, which if you remember, that means that we have to go back to the boat. And the reason that's here is because we have a repetition sign over here, which says, we need to repeat this phrase. But you don't really have to do that to be completely honest with you. We avoid repetitions in this course there were a couple of the repetitions and other signs, but we just don't really worry about them because they're not really, don't really add too much the sonic unless we're playing it for an audience, we don't have to really do the repetition, so I wouldn't worry about that. But I just want to let you know why that's there. So you're not confused. Like why is that an arc cosine. There is no pizzicato beforehand. Well, that's because there's a pizzicato here. And speaking of which, now that we know how to play it, but it's a Caro's. Hopefully we won't have too much trouble playing these two notes as far as they are. The only two notes in this course that are played as a pits of God. And I believe the only two nodes in the entire course in any song. But hey, they're included here. So we can review them one more time. And as we discussed, pizzicato is don't come up that often, but when they do come up, we need to know how to perform them, like right here. And of course we have a metaphor to, for the last two lines as well. And now let's talk about PCR phi1 and phi2. So DC often means basically, when you get to the end of the song, and instead of just ending, we go back all the way to the beginning of the song. Go back right here. And we just keep playing from the beginning. And then we keep playing, keep playing, keep playing until we get to this phi and sine. And that's where we end the song. Alright, so F01 basically means finish or end, right? So finish and or whatever you want to say, right? That's the end of the sand right here. But not the first time we played, the second time we get there. The first time we'd just go over it, we played the rest to song. When we get to the end of the page, would come back all the way to the beginning. And then we'll just play normally until we get to the field site and that's where the song ends. Okay? Of course, have a retard on over here and we do that both times. And we go back to temple right over here. So people slow down, slow down, slow down, and then we'll pick back up at the original tap. Okay? So hopefully that makes sense. Of course we have 16 nodes as well. And just to make things a little bit more spicy. And remember, 16th notes are a quarter of a beat, so they're super fast. So if you are going 1234, you have to go 120. And that's how we rates the speeds for the 16th notes. So remember when we had just coordinate routes, right? 1234, right, that's how we defined when we had evidence, we would say 1234. Now the way we can counter 16th notes is one e to the three end of 40 kinda. Okay, so anytime you have 16th notes, that's how we count the rhythms to help us understand the rhythm meter. So we go 123. And then of course, nothing here because it's a brick. 120 or sorry about two, ie 034. Alright, so hopefully that makes sense. And that is basically everything that we need to cover in this song. Nodes go ahead and see how this is supposed to sound like. And then we're able to play our final song of the course. Mm-hm. Now it's your turn to go ahead and give it a shot. Make sure your practice on a lot. And also make sure you start from the Mary Stuart slow tempo as slowly and gradually work your way back up to higher scheme. Good buck. 63. Advanced Tuning - Tuning Without a Tuner - Beginner Violin: All right, now we've got to the part of the course where we're going to talk about tuning. But a little bit more of an advanced version this time, because we already learned how to tune the violin, right? We use the tuner and we just kind of went plated the pegs played with the fine tuners until we find that right to right. Now, as you get more advanced in playing the violin, you also need to learn how you're supposed to tune the violin in an advanced version. So usually the way we tune it as we tune that a strike with some outside reference, if you will. So this could be just the tuner. I can just use a tuner and just fix my a string. Or it could just be someone else playing me the a string on their own violin or maybe someone else plays a, plays a tune on the piano. And I just hear that. And I tried to match the sound, right? So either way, it's a good practice to just try matching the sound. You can even look this up in YouTube. You can just go on YouTube and just search violin, a string, right? And if you search that, you should be able to find a number of videos and the a string, but an atrium that is tuned to perfectly, right? So the sound that you hear is what your ASH eight sounds should be basically. And you want to match your own strings tune to that term. Alright, so let's say here that on YouTube, right? So what you wanna do is we want to use your fine tuners. Especially specifically if you're tuners pretty close. Like if your tour is way far off, then your mind might be easier for me to use a tuner, but usually you don't really use the Pentagon that often, unless you play around with them, right? Like if they go out of shape or if you just banked something against them. And yeah, it's obviously going to go into it. But if you don't really do anything to them and you preserve your violin and new conditions. They are rarely go out of tune, right? That's usually just the fine tuners that you have to worry about. So all you really need to do is if you're in the vicinity of the right note to hear it and try to match the sound with it. Okay? And that's something that you could practice really easily. Like you could just try tuning your a string with some sort of an outside reference, whether it's a piano or just listening to it on YouTube and just trying to match it instead of using a tuna, okay? And if you just try it a couple of times, it should be pretty easy to do. Now once you've done that, what we usually do is we just use our own a string as the reference and we change the tune on the other strings in order to match it. So I'm going to put my D string out of tune on purpose right now. I'm just going to go really randomly, somewhere at random. So if this is out of tonight by these shrimp, that's on D, Okay, so it's really editor. The way we do it is we use our ears to recognize what the DNA should sound like in conjunction to each other, right? So other right now for you. And then I'll walk you through how on actually doing this. All right, so that's the And as you notice, I got to the right tune without using any outside reference, I only use my own industry. And the reason for that is because I know that when you play DNA together, it sounds like this. It's very nice sound, right? And it's not that hard to pinpoint once you've actually got used to hearing that sound. So again, this is a little bit more of an advanced version. It might be a little tough for you to find the right sound, so you don't really have to worry about it. I just wanted to include it so you understand how this works. And maybe over time this will become much easier for you. But basically we'll wanna do is we want to find this sound by using which is tuned and basically bringing on Skype, but in attitude one more time. Changing the 200 new string until we get to that right set, right? Now the best way to do this is to take the D-string as often as possible so that it becomes much nicer to your ears when they are in tune, right? Because when two specific notes are ancient and their playground, they see each other specifically when its notes that are a fifth apart, right? So DNA are a fifth apart. That means that when you play them together, they're gonna sound really nice. Okay, Same with a and e. They are also in the book. Some really nice teach right next to each other right? Now. Some other notes don't really summed up nicely next to each other. For example, if I were to play D sharp and E, Those are really, I'm nice, right? It sounds really weird. Cause I was like jaws, right? But if I play two notes that are apart from each other, for example, Amy, as a really nice out. So basically got a nice sounds when we're looking for. And in order to make it easier to find, what we can do is let's say we're 20 db string. When we can do is we just make sure the D-string go out of tune as possible so that it's easier to find the right term. So I'm going to do it one more time. So that's right. So now, if this was slightly out of tune, let's say just that much. It's hard to tell. Is it intuitive, not in tune? Do I need to slightly just this way, doing just like Joseph, that way. It's not easy to tell, right? But if it's way out of tune, so I'll just put away out of two Marina accumulator. That's obviously not the sound we're looking for, right? So then it becomes much easier to play with the fine tuner and find the right sound because we're so far off that when we flush the right sound, it just starts on better and better and better and better. Until you get to that perfect moment to take your lesson and see how it starts sounding better, better, better, and then as perfect. As you hear that. Basically that's what we look for. So we tune our a string with an outside reference. And then once we've done that, we tune the strings in relation to each other by making sure the first putting out of tune on purpose. And then as we approached the right to and just start sounding nicer and nicer and nicer until he gets the perfect moment. That's the sound we're looking for with, AND that the sound we're looking for with DNG. And that's our looking for with ag. All really pleasant sounds when we play the two notes together. So hopefully that makes sense. Again, I understand this is a little bit more advanced, so it's not gonna be as simple as just looking at the tuner and facing out until you find the right point. This is a little bit more of an experience-based type of tuning. And it's one that you need to be playing the violin for a little bit so that you're used to hearing that sound so that you can recognize it, right? So if you're still not at that stage, That's totally fine. You don't have to worry about and we can just keep using your tuner. But I just wanted to make sure you have an idea of how most violinists do this. Because usually if you see an orchestra, there's what happens. Someone plays the E string, a string, and then just do that, right? And then all of a sudden they're violinists tuned. That's how they do it, right? The user, their ear. And they know what kind of Assad and disappearance of very pleasant sound that they need to investigate. And they just put minus strings and little bit off sort of in the approach the right tune. It is much more recognizable. Alright, so hopefully that makes sense. Again, it often worry about it. If you're a beginner and just started out to be, just started playing the violin. Just stick your tuner, and that should be fine, at least for now. And maybe in the future, you'll get more comfortable doing this as well. So that's that. 64. You Made It...: I want to congratulate you on finishing the course. I'm sure it's been a tough little while. Sure you'd put a lot of effort into it. And I just wanted to say, well done, you're here. Hopefully you've been able to learn at least the very basics of how the violin works. And hopefully I've been able to impart so my knowledge or to you. Now, as always, I'm sure there's maybe some parts here and there that you have questions about. Maybe some parts that you were not entirely sure what was going on. Or you may need some clarification and you can you can just ask me any questions that you have at any point about anything specifically in this course on this platform. So there, there's a questions section where you can ask questions and I highly encourage you to use that because why not? That's right there. You can just use it anytime. And I always get back to anyone who asks questions. Even if I can get back right away. I've always tried to give back as soon as I possibly can because it's very important for me to interact with you guys as well because I want to make sure that you're getting all these information are basically all the information is coming to crops, right? And it's getting implemented. And you're able to actually get going on your violin journey, right? And so if there are any specific questions, never hesitate to ask me. I'm happy to help. If there's any specific feedback that you have about the course. Maybe some stuff that you thought we did really well, or maybe even some stuff that you thought we could've done a little bit better. By all means, let me know. I always appreciate all the feedback you guys give me. It just helps me make better courses. So by all means, let me know if there's any feedback that you have. So that's all for now. Thank you so much for checking out the course. I'm really happy that you've started your violin journey and you chose me to be your instructor over this period of time. And hopefully I've repaid the faith that you put in me in this whole time. So thank you once again, and have a villain. 65. 54 bpm Metronome Track: Ah, wow. Ha, ha, wow, wow, wow. Ok. 66. 57 bpm Metronome Track: Ah. Wow. Ok. Wow. Oh. 67. 60 bpm Metronome Track: Wow. Wow. Wow. Yeah. 68. 63 bpm Metronome Track: Yeah. Wow. Wow. Wow. Wow. 69. 66 bpm Metronome Track: Oh. Oh. Wow. Oh. 70. 69 bpm Metronome Track: Yeah. 71. 72 bpm Metronome Track: Yeah. Wow. 75. 84 bpm Metronome Track: Wow. 76. 90 bpm Metronome Track: Yeah. Yeah. Yeah. Yeah. 77. 96 bpm Metronome Track: Yeah. 78. 104 bpm Metronome Track: Yeah. Yeah. 79. 112 bpm Metronome Track: Yeah. Yeah. Yeah. Yeah. 80. 120 bpm Metronome Track: Yeah. 82. 136 bpm Metronome Track: Yeah. 89. 54 bpm Drum Track: This video is for practicing on the speed of the drums. Four beats per minute. 90. 57 bpm Drum Track: This video is for practicing on the speed of the drum. Beats. Ok. 91. 60 bpm Drum Track: This video is for practicing on the speed of the drums, 60 beats per minute. Okay. 92. 63 bpm Drum Track: This video is for practicing. Play along at speed of the drums. 63 meets permanent. 93. 66 bpm Drum Track: This video is for practicing on along at speed of Trump's 66 beats per minutes. Mm-hm. Yeah. 94. 69 bpm Drum Track: This video is for practicing on the speed of the drums, 69 beats per minute. Okay? Mm-hm. Yeah. 95. 72 bpm Drum Track: This video is for practicing on along speed of Trump's 72 beats per minutes. Yeah. Yeah. 96. 75 bpm Drum Track: This video is for practicing on play along. Could speed up the drums 75 beats per minute. Yeah. Yeah. 97. 78 bpm Drum Track: This video is for practicing onlys. Play along at speed of Trump's 78 beats per minutes. Yeah. 98. 81 bpm Drum Track: This video is for practicing problems. Play along at speed of the drums. Beats per minute. 99. 84 bpm Drum Track: This video is for practicing on the speed of the drum. Beats per minutes. Mm-hm. Yeah. 100. 90 bpm Drum Track: This video is for practicing on along its speed of the drum. Beats per minute. Mm-hm. Okay. Okay. Yeah. 101. 96 bpm Drum Track: This video is for practicing on play along at Schiphol trumps me six beats per minute. Okay. Yes. Yeah. Okay. 102. 104 bpm Drum Track: This video is for practicing on play along at speed of the drums, 140 beats per minute. Mm-hm. Right. 103. 112 bpm Drum Track: This video is for practicing on play along its speed of the drums. 112 beats per minutes. Ok. Mm-hm. Yeah. Yeah. 104. 120 bpm Drum Track: This video is for practicing honor. Play along at speed of Trump's 120 beats per minute. Yeah. So thanks. Okay. 105. 128 bpm Drum Track: This video is for practicing on three along its speed of the drums. 128 beats per minute. Sorry. Yeah. Okay. Yes. Okay. 106. 136 bpm Drum Track: This video is for practicing formula. Play along at speed at the drums, 136 beats per minutes. Okay. Why? Woo four? What? Why? 107. 144 bpm Drum Track: This video is for practicing on play along at speed the drums, 144 beats per minute. Mm-hm. Ok. Sorry. Okay. Okay. Yeah. 108. 152 bpm Drum Tracks: This video is for practicing on three along its beautiful Trump's 152 beats per minute. Okay. Six. Mm-hm. Yes. Okay. Oops. 109. 160 bpm Drum Track: This video is for practicing on play along at speed the drums, 160 beats per minutes. 14. Okay. Yes. 110. 170 bpm Drum Track: This video is for practicing on play along at speed the drums for 170 beats per minute. Okay. Okay. Right. Okay. So thanks. 111. 180 bpm Drum Track: This video is for practicing honoring, play along its beautiful Trump's one algorithm, 80 beats per minute. Yes. Four. Yes. Okay. Yes. Yeah. Okay. 112. 192 bpm Drum Track: This video is for practicing on play along its spirit trumps 192 beats per minute. And OK. Mr. Yes? Yes. Okay. Okay.