Transcription
All right. Just a little sound check. Can everybody hear me fine? Not too loud, not too soft. Checking, checking. A B C D E F G.
>> [yawns and sighs] >> Great. Thanks, Wynn.
>> [snorts] >> I'm going to go ahead and play a a drone in case those of you may not have a drone available. Um that's a D. There's our A. So go ahead and tune your instruments to an A. Try not to drive you crazy. I'll give you A one more time.
>> And then I'll go ahead and give you a D. So, we'll tune each string separately. I don't mean to micromanage, but I just I need to make sure everyone's tuned the best possible that you can be. If we're going to work on intonation, we need we need one sure thing. Give you one more D. Then I'll give you a G. And finally, I'll give you an E.
>> [music] >> Okay, so just take a minute and tune your own instruments using whatever gadget you need.
>> [clears throat] >> All right. So, let's go ahead and get started. I uh should have checked what my live stream said it was going to be about because I had set it up 2 weeks ago for the topic of ear training. And then I stayed up late last night planning a whole different live stream which was on scales. And I didn't like that topic. It felt like I was um beating people into submission
>> [laughter] >> for scales. So, I in the shower decided I'm going to we're we're going to work on intonation. And then I noticed that the topic I chose 2 weeks ago was ear training and how to make it fun. So, let's This is kind of related, but I'm I just I'm feeling passionate this morning about ear training. Uh sorry. About intonation. It's there's such a It's It's a It's a simple science, but it is a science, but it's simple. And it's so um How do I say specific? There's a right and a wrong. It's It's so trainable. It is so trainable. But people avoid it because it feels fuzzy to them or feels um abstract. There's nothing abstract about it. Um it's simple science. But it does take time. And I think that's another thing that steers people away from working on their intonation is impatience and the inability to accept deferred gratification and small gains. It doesn't happen overnight. It doesn't. Just like sight reading. You're not going to work really hard on it for a week and then be done. Ah, I can sight read. Just like sight reading, intonation is not done after 1 week or even 1 month of really hard work. But after 1 month of hard work on intonation, you will see huge improvements and uh hopefully that's enough to inspire you to keep going. I still continually work on my intonation. If I don't work on it, I notice a deterioration. And that's not a burden. It's just a observation. And I know exactly what to do when my intonation starts to falter. I It It's And And it's doesn't take a lot to maintain intonation at my at my level. So, it's not going to continue to be a burden to you, but to get to a certain level will be a a burden or a a happy a happy burden to work on it and to to not have beginner intonation anymore. So, let's go ahead and talk about the specifics and how you work on it.
So, at first when we're beginners or students, we have no confidence. How am I supposed to know if a note I'm playing is in tune? I don't know. And so, that's phase one that we need to talk about which I call the visual phase. I'm a huge fan of finger tapes. I like the finger tapes better than the the templates, but the templates are fine. You can get a whole a whole sticker that goes all the way up your fingerboard and shows you where every note is. And that's great cuz it has all the notes on it. Um but I like finger tapes cuz you can also feel them. You can feel when you're on the edge of the tape, so you don't always have to have your eyes on your fingerboard. With the templates, you have to have you you have to look. So, I'm a big fan of the finger tapes and what finger tapes do is gives you a visual target and it allows you to be consistent easily without any self-doubt. If you're on the tape, we'll call it in tune. And that builds muscle memory and and it also trains your ears to recognize the sound of the correct pitch. And your ear starts to remember those things. So, I'm a big fan of tapes for the first year two years. Uh after two years, I'd say it's time to start getting rid of the tapes and um well, we won't talk about we won't go get too much in the weeds of which tape to eliminate first. Second finger.
>> [laughter and gasps] >> You get rid of second finger first because second finger is either right next to third finger or if it's a low two, is right next to first finger. So, second finger gets its bearings from these two guys. So, that's the first tape to eliminate and then it's up to you which ones to eliminate next. I find some students are more reliant on a first finger tape for their anchor. Like if their whole hand if their whole hand starts to go out of out of in the wrong spot, they need a first finger tape. But if their first finger is in tune, but their hand is contracting or stretching too high so that their third finger is out of tune, then I like them to have a third finger tape. So, there I wasn't going to discuss tapes that much, but there you have it. I will refrain from discussing why we have tapes in this configuration. I have other videos about it. It's just a beginner's um hand position. It's the easiest position to play in and it's we got to start somewhere. And you do not want a tape for every single half step. That would be a very disorienting. So, that's in a nutshell why. And I was going to refrain from that, but I couldn't help it. So, phase one is visual. It can take a year or two. It can take less if you're really focused and really um aware of it. It can take 6 months or less. Um in addition to tapes, part of the visual stage phase of intonation is a tuner. Um my favorite tuner I've searched the world over, well, a few years ago. There might be a better one now. I just consistently love the Korg. And it's the all is an all-in-one and I just love right now that they're up to 60. I think they might be up to 70. And each time they go up in model, they add a few cool new features. But it's the TM-60, maybe 70 by now. My only complaint is this dinky little speaker that's the size of a of a nickel. See that? Yeah, that's that's doesn't put out enough sound um for what Well, you know what? We'll discuss it in phase two. I'll talk about that in phase two. We're still in phase one. So, because this is an all-in-one, it's a metronome, it's a tuner, and it's a pitch generator. We'll talk about pitch generators in phase two. But most people just love the tuner function. Get rid of the glare. That's where it tells you what the name of the note is and your goal is to get a green light at the top. Let me see if I can sing one.
>> [clears throat] >> It's a humiliating exercise. Try it. Um so, a chromatic tuner will detect the note that you're attempting to play if you're close. If you're not close, it'll be it'll be confused. It'll detect the note, it tells you what note it is, and then it will tell you with a red light if you're sharp or flat. It also has, in addition to the light, it has a needle. You want a green light and you want your needle straight up right pointing at the note. So, let's see if I can show you. I don't think you need me to show you this, but Oh, you know what? I don't need to I don't need to demonstrate this. You are all familiar with the tuner. I know you are. Now, the tuner is is wonderful because it removes self-doubt and it it builds confidence. But, it's habit-forming and it uh you eventually need to wean yourself off of it and rely on your ear. That's phase two. But, for phase one, go ahead and use it. I'll tell you the problem the other problem with these besides the fact that they're habit-forming and that is they if you don't have a really stable, good bow control, the needle is going to dance around whether you're perfect or not and it's your bow's fault. So, I do want to show you that. I'll just do an open string because I don't have a left hand free. Now, watch this. Oh, come on. Well, it's locked onto the green. It's it's really happy with my string right now. But, if if you don't pull a nice consistent bow speed and a nice consistent sounding point with nice consistent bow weight, your needle will dance around and it's not really your left hand's fault. So, that makes the using these tuners kind of tricky. That's one thing I love about the Korg is it's very good at filtering out a lot of that noise. That's why I I couldn't get it to dance around right now. It recognized my D string. Um and my guitar player constantly uh comments on how nice the my Korg locks onto his guitar. Um and helps him to tune without a lot of fuss. Um so, that's one of the some of the caveats, some of the um drawbacks of using these tuners, but they are a good tool. I'm not opposed to them at all.
So, the that's the visual phase of phase one, the the visual portion. In addition, in phase one is what I call the muscle memory phase. And I already addressed that. If you hit your tapes in on in the right spot enough times, your fingers start to remember what that feels like and where those places are. If you're really focusing and you're really paying attention, you also will start recognizing the sound. So, you recognize the feel and your ear recognizes the sound. Then you're really starting to get traction with intonation. To increase your muscle memory, um scales become very important because scales are an arrangement of whole steps and half steps. And they're a pattern that recurs, that repeats all over the place. So, it's another repetitive exercise that builds muscle memory and aural memory. Your ear will recognize it, your fingers will recognize it, and the two complement each other. So, that's phase one. A little bit of visual aids and building your muscle memory and your aural recognition. Hello from Finland. Kirsty. Nice to see you. Welcome. Thanks for Thanks for coming.
Um So, let's talk about phase two. I like to begin phase two with what I call ringy threes. Phase two is building your sensitivity to the sympathetic vibrations of your violin. Sympathetic vibrations, some of you that's a scary term. It was for me. And some of you know exactly what I'm talking about and it's not scary at all. Sympathetic vibrations are primarily notes that resonate with your open strings. And so, if you play a D, the note D, you also have a D string. So, if you play your your D with your finger in the right spot, it mathematically agrees with your open D and it excites the open D and makes the open D ring. You can see this physically when you play Actually, I hope you have your violins out. Let's play a third finger on your A string. That is the note D. And if you play it loud and if you're not touching your D string, you have to be very careful that your finger isn't accidentally um squishing over and killing your D string. Do not touch the D string. And if you play your third finger really loud, you will physically see your D string start to go blurry cuz it's vibrating. Um I'll show you and then I'm going to give you a minute to do it yourself. Watch right here on my D string. For some reason, right at the at the center of the string is where it vibrates the most. It's a mathematical phenomenon. So, watch. Look right here.
>> [music] >> And I I like to kill it. So, I see it stop.
>> [laughter] >> Go ahead and and try that. I'll give you a minute. You can try your G string, too. Third finger on the D string. That's That's really I should have started with that. That's really ringing. Okay. So, once you experience that sympathetic vibration and you you successfully excite your open string and you can see it visually, then you you need to start learning to hear it because you can't always be staring at your other open string. So, the way we I like to work on hearing the the ringing notes, I just call ringing threes because our third fingers are the most accessible. They're the easiest to make ring and they're the the finger that plays out of tune the most often. So, it's a win-win-win. So, I do ringing three target practice. Um, the first exercise, if you know the Wagner tune Here comes the bride. It works perfectly because we play an open string and the third finger. And most of us are familiar with that song and that interval. It's a perfect fourth, by the way.
>> [music] >> and we can hear if we miss it.
>> [music] >> So, that's a little bit of target practice. And then your goal while you're going you play one open D and then you get comes the bride. You get three tries on the third finger to dial it in. And you try to hurry and tilt the finger. Don't move it in a lot in a lot, just cup a millimeter at the most. Well, hopefully you're within a millimeter. If you're way, way off, then you just have more work to do to increase your precision. Hopefully you're landing close enough that you're within a finger tilt a finger tilt away. Kind of looks a little bit like a vibrato. I'm convinced that we're that's where vibrato came from. Is people missing and then and then rolling into their note and thinking, "Oh, you know what? That sounds kind of nice. I think I'll just keep doing that." Um so where was I? Here comes the bride. You've got three tries and you want to land as close as possible so that you're just a finger tilt away. When you finally get in tune I'm I I don't know if you can hear this on my microphone. My G string My G string is ringing like crazy. It's still ringing. Still. It just stopped. And that's because I was mathematically my third finger was mathematically perfect with the vibrations of the G string. It takes training to to learn how to hear that ringiness. And most of my students will tell me, "Oh, I know that sound. It's It'll happen once in a while when I'm playing and it's really loud and hollow and echoey. I thought something was wrong with my violin." We all We all hit them once in a while whether we're trying to or not. The trick is recognizing it, knowing it's a good thing, and recreating it as often as possible. So, that's target practice for your ringy threes with the uh on every string with the song Here Comes the Bride. Let's just I'm going to do the E string and I want you to try it before I play it for you. Try playing E 3 3 3 and see what happens. So, the trick is it's it sounds weird. We just played it on the D string, so you're used to hearing this key. And then we go to the E string
>> [music] >> and it's kind of shocking to the ear. And you need to get used to shifting gears like that. So, now at this point I need to talk to you about killing the string. It's my nickname for whatever string your third finger is on, you need to you need to um stop the bow on the string. Don't take the bow off the string. Cuz then you don't know if it's that note that's ringing or your open string. So, I like I I just have to remind my students constantly to stop their bow on the string. It feels weird, it feels ugly.
>> [music] >> But, that's the sure way to tell if it's your open string ringing. Listen to this. You hear how dead that is? Now, if I take my bow off the string, it sounds okay still. It's out of tune, but it's ringing because I'm fooling myself. Oh. Oh. Got it. And you can kind of hunt and peck and hunt and peck
>> [laughter] >> as you go closer. It's kind of like when you play hide and seek and someone says, "You're getting warmer. You're getting warmer." That's kind of what we're doing. As you hear your violin get ringier and ringier, you know you're moving in the right direction and it takes experience knowing when you've finally hit the bull's-eye. And the only way to know is to overcorrect and go too far.
>> [music] >> I'm going to keep going. Oh. Getting colder. Colder. Warmer. Okay. So, that's ringy threes, the very beginning of ringy threes using Here Comes the Bride and learning to kill the string that your bow is on. Um another exercise for ringy 3's is just a little different, same principle. You find your third third finger. If you think you're on the ringy note, then you can play pepperoni pizza. So, you're scrubbing four bows and then you're on pea zza. That's the real test. That's when you kill kill and listen to the ringy note with those two short notes. Um and I I misspoke. You don't find the note first. You go like this. You You say, "Okay, I'm going to do my ringy three on the D string." And you try to dial it in in pepperoni and then you test yourself with pizza. Let's pick a ringy our ringiest string. It's different for different violins, but usually it's the E string or the D string. So, third finger on E or third finger on the D string. Let's do the E string, okay? Let's do and I want to give you a chance while I be quiet to play third finger pepperoni pizza and if you're
>> [music] >> Try your hardest to get as close to the target as possible by the end of pepperoni. Okay? I'm going to zip my mouth and give you 25 seconds. Okay, I think that's long enough. Um Ooh, a Roland I I should mention the Roland ringy threes because it teaches us to recognize octaves. Um an octave is in music, it's the same note, one low and one high. So, you could have a low D and a high D. You could have a low C and a high C. They're They're the same note, but they're different registers. Um you could So, um it Roland teaches students to play the lower string.
>> [music] >> And then to find the ringy three above. That's valuable because it's teaching us octaves and I don't know, it's just another angle of approaching the ringy three. Go ahead and try open G, three on D before I play it. Go ahead and try. So, open G three on D. Low G, high G. So, that's just one other way. Uh the more ways you can go at this, the better off you'll be.
All right, so that's the introduction to sympathetic vibrations by way of ringy threes. Then I just like to jump right in with the Suzuki tonalization. It's one of the best things Suzuki has given us. And I'm going to switch to the screencast view. And I'm going to slide my face over. So, this is my copy. I Please ignore everything but line one and two. This is the deluxe one that I teach in book four. And ignore the top fingering because eventually we do this tonalization in third position, so that we learn to play in tune in third position. But, so you're going to be looking at the bottom fingering. Now, I'm pulling this up so you can participate, but I I require my students to memorize this immediately. You do not want to be looking at a sheet of paper when you're working on finite intonation and ringing notes. You need 100% of your awareness on on your ears. So, this is just for convenience for today, and you'd want to memorize this ASAP. If you want a copy of this, I'd be happy to send it to you. Um Wayne, could you put my email in the comments? I love you. Thank you.
>> [laughter] >> Just email me, laura@reddesertviolin.com. So, the way I teach the tonalizations, it's it's a glorified G major arpeggio, but if you notice, most of the notes are an open string note. This is a G. That's a B. We don't have an open string B, but that's okay. There's a D, a G, an A, B again. So, most of them are open strings, and that's no accident. It's because you're listening for the sympathetic vibrations, the ringing note. I play a game that I call reps. And we start with four reps, and so you have four tries to nail your ringing note. And you kill the string on the fourth rep. So, it's like the pepperoni pizza. You've got You've got three bows to try to dial that finger in, and then you got to check it on the fourth try. So, it goes like this.
>> [music] [music] >> Ooh. You hear that? That's my low two. That's the That's right here. This note. That's a G. And it's it's over on the E string, but it's still talking to my G string. Um so, you stop on the last rep. Let me just um tell you how this exercise concludes, and then we'll try it together, okay? After you get good at that, you take it down to three reps. So, you basically only get three tries.
>> [music] [music] >> And so on. Okay? Um then you go down to two reps.
>> [music] >> And at a certain point, maybe at two reps, or maybe before, if you're really your ringing notes are really singing, I can get rid of that. That's an eyesore. If your notes are really singing, you you can stop killing the string, cuz that's that's kind of a buzzkill to to have to kill the string when you're sounding beautiful. So, at a certain point, when you know you're on those ringing notes, you no longer have to kill the string.
>> [music] >> You might still have to make a correction now and then. But after you you're There's a There's a point where you graduate beyond killing the string. You can hear it live without killing it. Okay. Um and then finally, the final graduation test is single reps.
>> [music] [music] >> And I still do these tonalizations. I I don't I'm not lying. I still do these when I need to calibrate and feel good about my sound. This This resurrects my sound if I've been derelict without practicing enough. Um okay, so let's try it together. Let's just do Let's do four reps and we're going to kill the fourth note. How is this going to work? You know, it it's better if you do this alone. But for the sake of showing you how to practice it, let's do it together. The reason I say it's better if you do this alone is because the ringy the sympathetic vibrations are subtle. And you kind of need to just hear yourself. But let's do it together so that you know how to practice this and then uh you'll know how to do it alone. Okay? So read or play by ear these first two lines. We're going to play every note four times and we're going to stop on the fourth rep on every note. Ready, set, play.
>> [music] [music] [music] >> And please don't hurry over the bees just because they're not ringing. Please don't hurry over your open D just cuz it's easy. Get your violin resonating.
>> [music] >> It's good for your sound, your tone development, your bow hand. My students all they try to save time by going and it's like the D string is just as important just cuz there's no finger on it. Don't rush past it, please. Let's do three reps now. Um don't know how necessary it is for us to do all these steps, but I just feel like we should. So, let's do three reps now. So, it'll be one, two, stop. One, two, stop. Here we go. Ready, set, play.
>> [music] [music] [music] [music] >> Okay. Two reps. Um when we get to two reps, let's see. I really want to say when we get to two reps, you need to be able to do two big bows and not rely on stopping the string. The stopping, the killing of the string, that needs to happen in the four reps and the three reps. Um if you're not hearing it consistently, you need to stay on that step. Four reps and three reps. Once you're good at those, then you get to go to two reps and I I don't really make my students kill the string after that. They just because they're landing within a sheet of paper from the right note anyway. They're just the tiniest adjustment away from the ringiest note. Um and so they can fix it on the fly without having to stop and listen. You They're hearing it um as they're bowing without having to kill the string. So, we're going to do it that way together. We're going to do two big bows. No killing, no stopping the string. Okay? Two reps, here we go. Ready, set, go. Big bows.
>> [music] [music] [music] >> And finally, single reps. So, that's just and I love the big glorious bows. So, you really want to just go for it on these ones. Let's play single reps together. Ready, go.
>> [music] >> Okay, and that can take students a couple months if they're working diligently to work from four reps down to one rep. So, don't rush through this process. You'll only cheat yourself if you rush through it. All right, so that's the full tonalization. And if If want a copy of this, just let me know. I will be happy to send it to you. Um so that's sympathetic vibrations, ringing notes, training ourselves to be sensitive to that. If If that's as far as you get with intonation, you're going to be pretty darn good. Um there's a step we can take a step further, and I'm going to show you that now. But if your ringing notes are in tune, just by by default, you're going to start playing the unringing notes better in tune because they're relative to the ringing notes. And you know, 60% of our notes are ringing notes. Well, it depends on what key you're playing in, but um there there's a lot of ringing notes, and those are like our frets. Pianists have black and white notes. They don't have to worry about playing out of tune. Guitarists have frets, and as long as they tune their guitar properly, they're more or less going to be in tune if they're on the right fret. Ringing notes are our frets. They are our invisible tapes. So, it's just an it's an invaluable tool. Let me pull up our comments disappeared. I want to make sure I'm not missing any. Okay, Wayne, thank you for Oh, doesn't want to display my email. That's weird. Oh, you got it, Wayne. Thanks. Laura, and then the outside. Oh, yeah, they're trying to protect privacy, I guess. Okay, thanks, Wayne, for doing that.
All right. So, the next stage phase of intonation, and the final phase, is um training your ear to be sensitive to the key you're playing in. And we do this by use of a reference note or a drone. Uh is there an pitch generator? Oh, wait, yeah, I told you. That this little Korg has a tone generator, a pitch generator in it. And that's real That's what we were tuning to at the beginning of this video. I put a a reference note on and you can change pitches. It It goes through three or four octaves of pitches on this little tiny inexpensive machine. Um, the problem is to get the benefit of the drone of your your pitch generator, it needs to be loud. You need to be immersed in the sound of the drone because you want to climb inside that sound and I'm getting really abstract. Okay, let me back up. This speaker is not adequate. It's too tiny. It sounds tinny. But, you see this little jack right there? Well, that's for That's for guitar players so they can do a direct line and test their guitar directly. But, this little 3.5 mm jack that can fit with lots of external speakers, including your computer speakers. And it's wonderful to use that cuz then this goes really loud and serves a better purpose. Or, you can pull up a drone on YouTube or on the internet. There's a ton. I did a just a quick search this morning. I found a site that I really liked because the drone is simple. It's not ugly or harsh, but it's They have a thing called cello drones, which is cellos and it's a bunch of strings playing and it's almost too rich. There's too many vibrations going on and it it competes with what I'm trying to hear on my violin. So, I'm fussy. I'm fussy. Um so, let me pull that up. The reason I like it is because This is This is um Let me give credit where credit's due. This is a channel called Bone Zone Studio. They have every note available. We're going to start with G because we just did a tonalization in G. And listen to this. It's just a simple sine wave, but not an ugly sine wave.
>> [music] >> If you're also listening carefully, it's got an octave. It's got a low G and a high G and they're perfectly in sync. So, it gives you a frame for playing a huge a big range on your violin. I like my drone to be a little bit lower than what I'm playing or equal to. I do not drone to an a note that's higher than what I'm doing. The whole point is to have a floor underneath you, a base to to measure. You need a bottom. It provides the bottom for what you're doing. So, what practicing with a drone does is it it calibrates us to center on a key. Cuz there's micro adjustments that we can learn to be sensitive to and it's not as hard as it sounds. If you're really listening, your finger will just tilt and make the sound more pleasant for the key you're in. Getting a little bit into the woods with this. Let's just suffice it to say that it's good to play a song or a scale while droning the tonic of that song or that scale because it centers our pitch on the tonic. Let's just leave it at that. I've and I will tell you if you're having doubts and you're like, "Oh, nope. This is way too way too complicated for me. I'm going to turn it off right here." No, it is not too complicated for you. I've stood in lesson after lesson with students who have self-doubt that like this isn't going to work for me. I have never seen a student whose intonation didn't improve instantly by listening to a drone when the drone is turned up loudly. I've never seen it. So, I don't think you'll be the exception. If you use the drone even if you have self-doubt, do it anyway and trust yourself. And you'll find your way. I I've done it. My students have done it. Let me show you. I'm going to turn the drone on. And I'm going to play a G scale. Um I kind of wanted to do the tonalization, but we've spent a lot of time on the tonalization already. So, I'm going to show you a G scale and what you do is you you're making you're playing a duet with the drone. You're going to make beautiful harmony notes with the drone and your harmony needs to tune to the drone. Okay, listen. And then I'll give you a a chance to just try it.
>> [music] [music] >> That's a beautiful harmony.
>> [music] [music] >> Now, just a quick word. Some of those notes made a beautiful interval. Some of them made a dissonant interval. But, there's there's correct dissonance and there's incorrect dissonance. Um so, first let me just show you the notes that make a perfect interval. And those are going to be the notes that are a fourth and a fifth away from the drone. So, if we're droning G, then the C Here comes the bride. It makes a perfect fourth. And the nature of perfect intervals, you guys, is that they're perfect. They're perfect or they're wrong. And it's very easy to hear a perfect interval cuz it's it's a flat line. If it gets imperfect, it goes There's all these jagged, um conflicting You'll hear it. It it clashes badly when it's not perfect. So, let me show you that. Here's a perfect unison. G and G. Here's a perfect fourth. Now, listen. It's flickering. Listen. Can you hear the flutter? Let me try to achieve the flutter again.
>> It's fast. It's going You don't want the flutter. Let's play a D. Perfect fifth.
>> [music] >> Here's a imperfect fifth.
>> [music] >> Okay? So, those are the perfect intervals, the fourth and the fifth, but there's also very pleasant not perfect intervals called the third and the sixth. If I'm getting too theory technical on you, don't worry. You don't have to truly absorb this. Just know that there's different types of intervals. Some are perfect and you can hear them really easily. Others have more gray area and those take more experience learning how to hear them. But just ask yourself to make beautiful harmony. And once again, I've never seen a student whose intonation didn't get better by using this, even if they had self-doubt. So, let me show you the the thirds. Then then you're going to try it.
>> [music] >> There's a third. Now, if I play it out of tune, it's just a little less pleasing.
>> [music] >> That's a sixth. Here's the big clasher, F sharp. That's perfectly in tune, but it clashes because it's a it's a dissonant interval.
>> [music] >> Okay, so now I'm going to have you try uh let's do four reps on a G major scale. Hopefully, you all know a G major scale starting on open G. I'm not going to do it cuz I want you to experience this. And do the reps like Nice and slow. I'll give you plenty of time. Okay? And just listen. Anytime you're ready.
>> [music] [music] [music] [music] >> Okay.
>> [music] >> That was long enough for you to ascend. I didn't leave you enough time to descend. But, that's just as important because we need to be able to play in tune coming back down as well. Um okay. So, that is how I begin playing with the drone. I do it with a tonalization which should be pretty perfect if you're getting your ringing notes. Then I do scales. If I do a D scale, you'll do a D drone. Okay? So, to end, I want to just try a song. Um we've only got 10 minutes. So,
>> [snorts] >> it's going to be You Are My Sunshine. And it's going to be in the key of D major. So, hopefully, you're able to play by ear pretty successfully. Let's do it real quick before we turn the drone on, and then we'll do it with the drone. Okay, so this is going to be a speed lesson. Let me make myself big. A speed lesson in in You Are My Sunshine. We're going to start on open A. And then, Here Comes the Bride, it's going to be open third finger.
>> [music] >> Okay. So, A D E F sharp F sharp my only sunshine.
>> [music] >> Okay. Let's review that much. sunshine my only sunshine Next is up a scale. You make me happy. Fourth finger. Okay, so that's just up a scale. three E one two and then go from two to B. Then we come down the scale.
>> [music] >> When skies are gray. And then it's similar, you'll never know, dear. Different words, but it's up a scale. three one two four Then come back down the scale.
>> [music] >> And then, please don't take
>> [music] >> my sunshine away. Okay, let's try it once without the drone, and then we'll just have 5 minutes to play it with the drone. Okay, I'm going to play it slow. Watch my fingers, use your ears. Ready, set, go.
>> [music] [music] [music] [music] [music] >> Okay. Review that while I get to the D drone. Okay. Copy. Paste. There's our D. All right. Now, um I need to tell you there's no live stream next week. I'm traveling. I meant
>> [laughter] >> to say that at the beginning. I'll make that clear on the internet, too. So, are you ready? Sorry.
>> [laughter] >> Here we go. Big screen. Get in the zone. Get rid of that. Let me get my comments up. Sorry. Okay, here we go. You are my sunshine.
>> [music] [music] [music] [music] [music] [music] [music] >> Now you do it. I will finger it along with you. I want you to just hear you though. Okay, so I'll pluck so that in in case you're struggling with the notes. Here we go. Just you. Ready, set, go.
>> [music] [music] [music] [music] [music] [music] >> Okay, like I said, this doesn't come overnight. But the thing that stops most people from playing in tune is feeling like working on intonation is abstract. And it is not abstract. It's a little bit of No, it's not math. Math scares me. It's based on math. You don't have to know math. It's simple science. There's a There's a yes and a There's a right and a wrong, and you're You can learn to detect it. You can. You can. You can. But it doesn't come overnight. It takes lots of work. A lots of consistent work. And as you get better and better, you get it it's more gratifying. It's like Pavlov's dogs. You just want to hit that buzzer more and more because it's it's it's own self-built in reward. All right. Well, I don't know how many of you stuck through this, but those of you who did, uh my hat's off to you because it means you truly have the desire and the motivation to do the hard stuff that makes good violinists. It's not all learning songs and just fun. Got to get in the trenches and pay your dues, do your push-ups.
>> [laughter] >> And that's That's how you get to play your hearts out and um just express yourself through your instrument is by doing some of this hard work. Okay. Well, um thanks, everybody. Uh it'll be another week before we see each other. And thank you for visiting with us today. And I'll see you next time.