[MUSIC]
So we've done three
octave scales and melodic scales.
I want you to start to learn
the melodic major and melodic minor.
Look at this Carl Flesch system,
all the fingerings are really good.
He sometimes offers two
sets of fingerings.
I think you should probably try
sometimes two sets of fingerings,
don't kinda get sort of pigeonholed
into one fingering all the time.
I know I suggested that, but when you have
the music in front of you, it wouldn't be
the worst thing in the world to do a
different fingering just to mix it up and
feel the different things and
get an idea of how the fingers and
hands work with different fingerings.
It's a good idea, but when you wanna
learn the scales and keep them in your
long-term memory, learn the ones that I
taught you starting with second finger.
And then learn the other ones
that start on first finger,
and obviously the G major
that starts with open string.
Those actually have fingerings in and
of themselves.
Okay, so now we're gonna look
at the three octave arpeggio.
Let's again do C.
[SOUND] Use C major and C minor.
Let's just start with C minor arpeggio.
[SOUND] So, C, E flat.
[SOUND] Again, we're still gonna
remember our fretting of the fingers.
[SOUND] Playing fourth finger down,
keeping the third finger in mind.
[SOUND] Then we're gonna
move over to G natural.
[SOUND] Straight across from C natural.
Then first finger C natural
[SOUND] on the A string.
[SOUND] One thing I will add when
we do this, sort of a little bit of
an advanced concept, is that remember
that when we go to another string,
just in the same way when we
go in a descending pattern,
like I told you before, and
having the fingers prepared,
it's always good to have that
finger on the next string,
ready to go,
before changing the bow to that string.
And as we get into more difficult
material, you'll see how relevant that is.
And how when the fingers
are a step behind,
you start to feel like
you're uncoordinated,
that your one hand is not working
really that well with the other hand.
So, let's just do this first
octave thinking just about that,
since it's sort of like
an important concept.
So we've gotten the first interval which
doesn't have a string crossing, but
the next two notes both
have a string crossing.
So, watch.
[SOUND] Second finger on G, and all I have
to do now that the finger moves over.
[SOUND] Is move the bow over the D string.
While I'm doing that though, I also have
to move the first finger to the A string.
[SOUND] To play [SOUND] so
that there's no sort of lateness
with my fingers before
the bow actually gets there.
Let me do it again, slowly.
Watch it very carefully.
Watch my fingers very carefully.
Watch how they anticipate
where the bow is going.
[SOUND] This is very difficult.
This is not something
that comes naturally.
You're gonna struggle a little
bit at first with this.
Because so often we want to
move our hands together and
that's kind of natural normal thing to do.
But I always tell my students, I love to
see your fingers always sort of be ready.
And I liken it to going to the bus stop.
If you take the bus, you always wanna
make sure you're standing at the bus stop
waiting for the bus to come and
then get on the bus once it's there.
The last thing you wanna do is
be running to the bus stop and
running while the bus is running away and
trying straggling onto the bus.
That's kind of how it feels when
your fingers are moving late.
You feel the hurriedness with one hand and
it's not keeping up with the other hand.
It's just an image to keep in mind,
because it's a very
useful concept that kind of applies in so
many different places.
It might come up in certain musical pieces
that will come up in the next courses.
So let me just do this again.
First octave, finger ready, finger ready.
Now, we shift up to
fourth position [SOUND].
We've done this before.
First finger, block.
[SOUND] Starting to come
away from the finger board.
[SOUND] And then second finger.
Now we're gonna go up
to a higher position.
Now, when we go to this higher position.
[SOUND] First finger on E flat.
[SOUND] Third finger on G natural.
[SOUND] Fourth finger on C natural.
This is not necessarily
a very comfortable,
normal position that we're used to.
And I say that, why, because we can
see my first finger's hyperextended.
I don't have the normal
shape of my finger.
And why is that?
The reason is, once I put my first finger,
let's say I do it with the normal
shape of the hand [SOUND].
I literally cannot reach the C
natural with my fourth finger.
[SOUND] I have to kind of get my
hand above, collapse this finger,
[SOUND] and extend the fourth finger,
[SOUND] so that I can reach there.
[SOUND] That being said, this position
I want you to just get used to.
Play these three notes [SOUND], and
get used to where your hand is.
And feel that position, and remember
it sort of mentally and physically so
that we can actually shift to that
exact spot from the C natural.
Watch me do that.
[SOUND] I didn't do any extra motion.
Here's how I see a lot of students do it.
[SOUND] Where they move up at
the last minute to grab that C and
then they put their hand
in the right position.
But you've basically made two moves,
that's sort of inefficient.
We want one move.
[SOUND] So there's nothing else to do
except just knock the fingers right down.
So let me do the whole scale slowly.
[SOUND] Again,
I'll do it again.
Watch, I'll go slowly.
[SOUND] Now,
coming back down.
These fingers are ready, they're preset,
nothing to do except pick up the fingers.
[SOUND] Piece of cake, okay?
Now, as we lift this third finger,
we're gonna get the hand in
motion back to second position.
First finger going to second position
to G natural being our guide note.
[SOUND] Dropping the fourth
finger on C natural.
[SOUND] Do that again, [SOUND] C,
G shift to the guide note,
drop fourth finger [SOUND] on C.
At first,
you might want to play the guide note
just to know that you're doing it right.
In general that's never a bad idea.
It's just that eventually I don't want the
guide note to be something of a constant
that we hear.
Because it's not written in the music and
it's not supposed to be played obviously.
So again, let's do it, though, and
listen and hear the guide note.
So here we go.
[SOUND] Very obvious.
You heard the guide note.
Now we're gonna do it and
not hear the guide note.
But we're gonna get our finger
down to the right place.
[SOUND] Okay?
Now, a lot of times when you try to not
listen to the guide note, sometimes,
we prematurely put our finger down on
the note kind of rushing the process.
We don't want that either.
[SOUND] This is another
way to do it wrong, watch.
[SOUND] Okay, I never quite got there.
Yes, I hit the note but
it wasn't really a well executed shift.
Really, really work on the technique.
Again, sometimes when we do these
arpeggios and we do these scales,
I really want you to focus on
the execution of the fundamentals,
even if the notes are maybe a slight bit
out of tune and not performed correctly.
The execution of the fundamental
skills of the motion of the hand and
when we drop the fingers and
all that thing.
That comes first right now.
And let the intonation kinda
follow the good motion.
So let me just do the whole
thing one more time
from top to bottom or
bottom to top and back.
[SOUND] Same thing for
C major.
[SOUND] And you'll see as you
go on in the Carl Flesch system,
there are more arpeggios in addition
just to those two starting on C natural.
They're not necessarily done in C major,
they're in different keys.
But they're very, very useful and
I would go through the whole system and
play all them without stopping and getting
used to moving the bow smoothly and
doing the position changes and getting
really good at just moving through those
first three lines or first four lines of
that arpeggio system and scale system.
It's usually called the fifth
number of that set.
Start and
do the first three to four lines and
then send that to me in
one unbroken excerpt.
See if you can go from the first melodic
scale through the next few arpeggios.
I'd like to hear that done in a very
smooth, bowing, all done three to a bow.
[SOUND] And onwards and onwards and
then finish with the last arpeggios.
If you don't want to do the diminished
arpeggio and the other C7 arpeggio,
don't worry about that.
We can just do the first three lines,
that's fine.
But I really would like to hear
that whole segment of arpeggios and
melodic scales in one unbroken excerpt.
[MUSIC]
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