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Fiddle Lessons: Rhythmic Bowing

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this is an ideal time to review some of
the things that we talked about
earlier in the beginning area about
rhythmic bowing and some of the shuffles.
And just how we're playing this stuff.
How are we playing this stuff?
We are fiddling.
We're fiddlers.
And that means, as has been said the
violin is a voice, the fiddle is a drum.
Now fiddle is also voice, and a violin can
be drum also.
But, we are playing fiddle tunes and
they're meant to be danced to at some
Even if we're listening, we're dancing on
the inside.
Laughing on the outside, dancing on the
So, let's just review some of those ideas
some of the, the bowings that we were
talking about.
We have the basic up and down bowing.
We talk about doing that rhythmically and
when, to give a little bit of a, kind of a
accent on the, each bow.
We're using our little pinchy thing where
we're pushing up a little bit and
pushing down a little bit, so that we just
get a little bit-
On every note we get-
Give that little dancy,
bouncy quality to the bow.
Now when we combine that-
With the up and
down, in order to make that sound a little
bit more musical, we might make it
a little sharper on the downstroke and a
little softer on the upstroke, thusly.
then we might also be doing that if we tie
two notes together.
So we get two notes in the same bow.
Now, to make this sound more fiddly, we
can play an octave.
We can play-
The low G and we play the high G together.
You get a nice, ringy sound.
Let's try a little bit of that.
Just play along with me.
One, two, three, four.
We can also use the metronome to guide us
in this.
And one great trick that you can do with a
[NOISE] is to get the click going on the
So, [SOUND] if you have the click going
[SOUND] one, two, three, four, one,
two, three, four, so that the click is
actually functioning like a back beat, so.
You can hear that [INAUDIBLE].
One, two, one, two, one.
And then if we do that with one of those
shuffles that we were talking about.
Right, the down,
two ups and up and two downs.
gonna be kind of bouncing that bow a
little bit.
Instead of-
We want a little bit of bouncier.
And then if we combine that with a
metronome [SOUND].
One, two, three, four.
We get this very nice,
pulsey quality to even the longer notes.
That's what we want.
We want this feeling of a continual dancy
And then if we combine that on, for
instance, the Greek medley,
at the very beginning.
One, two, three.
we get this internal pulse that's going.
It's very nice.
There's another great little exercise that
I just made up on the spot
that we could do, which really focuses in.
There's hardly any melody to this at all.
It just focuses in on this bow rhythm that
we wanna get.
All right,
so that would be the first part.
And that repeats, so it sounds like this.
what we're doing, we don't really, there's
not much melody.
It's just all about the bow.
So we're combining this.
And we go-
So we get that little pulse.
And then-
That little dancy thing.
We're going to,
here's a little second part, which uses
the shuffle.
then we're gonna do a little bit of a
extra little syncopation right at the end.
That sounds like I'm gonna play it very
Just a little syncopation.
Down up, up, down, up, up.
So it sounds like.
So if we combine this into one little
tune, we get.
Something like that.
So, if we combine it with the metronome.
And it takes a second to just adjust.
Get your down beat away from the metronome
beat, right,
because we're thinking one, two, three.
We want the opposite of that, so.
One, two, three.
It's like is it the face, or is it the
One, two, three, four.
One, two, two, two.
I'm running the metronome at about 80.
You could run it as slow as 60 and start
on this.
So, what we're looking for is that little
And start with that, and then.
And then try a little bit of.
So down, up, up, down, up.
So we just.
And if you feel that's too complicated,
you go back to.
And just get that feeling good.
And then of course, the shuffle.
We don't want.
That's kind of a dead sound.
We want that little fluffy, kinda bouncy.
And of course I'm using thumb and
first finger.
And letting the bow just.
Do a lot of the work.
Just that springy quality with the hair
and the stick.
Make sure we don't have it tightened up
too much, or we're gonna get.
And then it doesn't sound like anything.
So we just wanna make sure your bow.
It's not just tight, but you just want
enough to get at that springy thing, and
this is just so important for getting a
good feel on your bowing.
And of course to start slowly is the key.
as simple as you can, and then move into
these that little tune maybe,
and then just try putting it on all of the
other tunes that we've been talking about.
Put, put it on every tune, every tune you