A Treasury of Techniques, in short video form

Fiddle-online.com has a unique offering in its Technique Video Groups. Each group has 10 short videos (except #2, where the ninth video is actually 3 videos on learning vibrato).

Visit the TechVids page https://www.fiddle-online.com/technique/learning.php to learn more and/or sign up. There is a video introduction describing each group videos, and there is even a sampler which has one video from each group for only 3 credits. Each full video group of 10 videos is 12 credits for 2 months, and only 8 credits to renew. These videos are practical and help you work with them for about 3 minutes each. They’re great to keep coming back to for maximum benefit, as physical games/exercises, and awareness builders. They’re not really for people to accomplish and move on; they’re really for all levels. This includes Group #1 even though those exercises are really helpful to beginners as well.

Let’s take a quick look at what each group of videos offers —  Continue reading A Treasury of Techniques, in short video form

Finding Articles You Want!

There are some 70 articles in this blog!  Apart from the more recent ones highlighted to the left, you can check out past months in the archive, if you know which month you want, or if you want to hunt through them all.  But the easiest way to find something useful to you is to use the search box at the left.

Here are some keywords you can type into the search box to bring up selected articles you might enjoy.

“advanced” — tips for use of fiddle-online by advanced and professional players

“tuning” — about tuning the violin

“mind/hand/ears” — reversing presumptions on how to learn to play

“playing faster 1”, “playing faster 2”, and “playing faster 3” — three articles setting you up for learning to play faster and understanding how fast to play various tunes

“mapping” — how to “ear-map” your tunes and learn most efficiently

“clarify” — once you’ve “ear-mapped” your tune, how to clarify and embody that map

“troubleshooting 1” — how to handle and avoid various physical problems from playing

“troubleshooting 2”, “troubleshooting 3”, and “troubleshooting 4” — understanding and improving bow control

“troubleshooting 5” and “troubleshooting 6” — addressing left hand problems

“stagefright” — is it learned?  New and organic ideas on how to avoid and handle it

“style” — what are fiddle styles?  how to learn them from within

“nature” — about intonation and mother nature, including a comparison of musical pitches and those of various insects around us

“motivators” — ten aids for motivating your practicing

“brain” — how learning and playing music enhances brain capacity

“musical fork” — how to avoid being derailed by wrong notes

“jokes” — 60 jokes making fun of every kind of musician!  Perhaps the most useful article of all!

**Have any favorite articles you’d like to recommend?  Leave a comment!**

©2018 Ed Pearlman

Charting Your Practice

The word “practice” can be exciting for those who think of it as a chance to nail down skills and improve, or to feel more in control. For others it conjures up ye olden times when parents or teachers forced them to practice as if playing music was just more homework for school.

The bottom line is that the more you play, and the more mindfully you play, the better you get. When you sense your progress, it’s very rewarding. Not that anybody feels they practiced enough — that’s one comment I’ve never heard from a student! Usually I hear “I played it better at home!” — which is what the fiddle-online.com T-shirt says. (In fact, we have a brand new blue design you might be interested in!)

The problem is that many really useful exercises or practice sessions don’t give immediate results, even if you know they’re doing good things for you.

One way to make the results from practicing more tangible is to use practice charts, which can be combined with some nice rewards (some need nothing more than chocolate!).

Practice charts aren’t just for kids, and don’t need gold stars or silly stickers, though making them colorful is a really good idea. What charts do best is Continue reading Charting Your Practice

Playing those higher notes

Most fiddlers leave their left hand in the same place all the time, in what classical players call “first position.”  You can get by very well this way, but there are some great tunes that make us play higher up the neck.

Let’s take a look at several different ways to play those higher notes. If you already have a way to do it, this article might give you a few new ideas to try, and if you tend to avoid those higher positions, read on — it’s not that hard to play higher if you find an approach that suits you, and practice doing it a bit. We’ll be talking about ways to “crawl” up the neck as well as exercises for learning to shift positions.

Before Louis Spohr invented the chin rest in around 1820, I suspect that violinists and fiddlers held their instruments the same way. According to the great violinist Ruggiero Ricci, they used to hold the neck with their hand, with the thumb partway up the neck. They had to reach back to play the normal first-finger notes, but they were able to crawl up the neck with their fingers and play high notes without moving their thumb. Apparently the virtuoso Niccolo Paganini once said his secret was that he had only one hand position.

After the chin rest was invented, violinists held the instrument with their chin or jaw, which freed up their hands to shift up and down the neck by bending at the elbow and keeping the fingers and thumb always in the same relative position. But I suspect that most fiddlers continued with the old way of holding the neck with their hand, and moving their fingers around while their thumb stayed put. This might have required that their left hand collapse at least partway at the wrist in order to reach back to first position — a position classical teachers frown on mightily these days.

Whichever way you hold your left hand, the old idea of “crawling” up the neck with the fingers is very useful and worth learning. “Crawling” refers to  Continue reading Playing those higher notes

Clarifying and Embodying your Tune Map

In the last article we talked about learning a tune starting with the ears, instead of with the eyes or brain. This is not merely about “learning by ear” but about taking a very practical break from the quantifiable — the written notes, names of notes, rules and regs — to allow the ears time to process a tune, its phrases, the beat notes, the pathways it follows to get you from one beat to the next. The ears know a tune long before the brain has a clue.

We are not merely advocating “feeling” instead of “thinking.” By all means, use all you’ve got! But there are traps people fall into, and we’re trying to avoid them. The brain is fully capable of micromanaging and obsessing over details it can’t really understand, while ignoring the key moments and the bigger picture that we really need it for. Many people read music and drill the notes until they feel they get a tune down, but they usually neglect to recognize that the reason they got the tune was because they allowed their ears and hands time to learn it (meanwhile the eyes and brain took all the credit! O, the injustice!).

The bottom line, as mentioned in the last article, is that what we think most about is what we are able to verbalize. Without good words, we have a hard time thinking about, respecting, and developing the job done by the ears and hands (i.e. actually play the fiddle!).

“Ear map” were the words we came up with and emphasized in the last article. To learn a tune, we have to map it out with our ears.

The words for today are “clarify” and “embody.” After mapping out the tune with our ears, we have to clarify the map, and embody the tune in our hands.

Think of how an artist draws a portrait. The first step is

Continue reading Clarifying and Embodying your Tune Map

Troubleshooting 6 – More Left Hand!

One of the main culprits causing fiddling to sound out of tune is the 2d finger. It wants to be next to the third finger; that’s its natural place. When we have to place it next to the 1st finger, and far from the third, it’s awkward but definitely doable, by everyone, if they think about it and teach their muscle memory the right way. Those who don’t want to think about it tend to throw the 2d finger down somewhere between 1st and 3d, and that apathy has a price — it turns everything a bit sour on the account of just one or two notes.

Note about “TechVid” videos mentioned below — they refer to the  technique video groups available on fiddle-online.com.  There are ten videos in each group.  You can work with them in real-time or at your own pace to make use of the exercises while being reminded of what to aim for.  Written descriptions are only a rough sketch of what to do.  In fact, often videos are not even enough — many times I’ve seen people not really discover the personal context for using these exercises until they had a lesson.  If you want this kind of help, a one-off  online lesson can be arranged via the Credit Store.

Below are suggestions for handling or preventing the following problems:

  • Trouble playing low 2d finger
  • Trouble playing low 1st finger
  • Not immediately sure which way is higher/lower
  • Trouble playing fingers individually, especially 2d and 3d

Continue reading Troubleshooting 6 – More Left Hand!

Troubleshooting 5 — Left Hand

We’ve been troubleshooting physical and bowing problems.  Now we’ll turn our attention to the left hand in this and several upcoming articles.

About videos — the “TechVid Groups” mentioned below refer to the  technique videos available on fiddle-online.com.  There are ten videos in each group.  You can work with them in real-time or at your own pace to make use of the exercises while being reminded of what to aim for.  Written descriptions are only a rough sketch of what to do.  In fact, often videos are not even enough — many times I’ve seen people not really discover the personal context for using these exercises until they had a lesson.  If you want this kind of help, a one-off  online lesson can be arranged via the Credit Store.

Below are suggestions for handling or preventing the following problems:

  • Playing out of tune/Not sure where to put fingers
  • Playing too slowly/Reluctant fingers
  • Notes not coordinating with bow
  • Trouble with fourth finger

Continue reading Troubleshooting 5 — Left Hand

Troubleshooting 4 — More Bow Control! (2 of 2)

In our last article we discussed ways to improve your bow control, especially if it’s getting in your way sometimes.  Here are a few more tips on that subject.

About videos — the “TechVid Groups” mentioned below refer to the  technique videos available on fiddle-online.com.  There are ten videos in each group.  You can work with them in real-time or at your own pace to make use of the exercises while being reminded of what to aim for.  Written descriptions are only a rough sketch of what to do.  In fact, often videos are not even enough — many times I’ve seen people not really discover the personal context for using these exercises until they had a lesson.  If you want this kind of help, a one-off  online lesson can be arranged via the Credit Store.

Below are suggestions for handling or preventing the following problems:

Troubleshooting 3 — Bow Control Problems (1 of 2)

In our last article we did some troubleshooting for annoying sounds and how to stop or prevent them.  This time, and in the next article, we’ll continue troubleshooting bowing but focus on restrictions you may feel while trying to use the bow.  Your bow is your voice, where all your timing and music come from.  Bow control is at the heart of enjoying your playing.

About videos — many of the exercises described below correspond to technique videos available on fiddle-online.com.  These videos allow you to work in real-time or at your own pace to make sure you learn and make use of the exercises while being reminded of what to aim for.  They can be very helpful because verbal descriptions are only a rough sketch of what to do.  In fact, often videos are not even enough — I’ve had many students discover that it takes a personal context to apply these ideas to their own playing.  If you feel this way, a one-off  online lesson can be arranged via the Credit Store.

Below are suggestions for handling or preventing the following problems:

  • Problems with timing or coordination between left & right hands
  • Rough bow changes and disconnected notes
  • Trouble playing near the frog
  • Weak or noisy start to your notes

Continue reading Troubleshooting 3 — Bow Control Problems (1 of 2)

Troubleshooting 2: Sound Problems

In the last article we talked about building awareness of your right hand and use of the bow that can help you diagnose your own troubles when you make sounds you don’t like or for times when you don’t quite feel in control of the bow.  This time we’ll get specific about troubles that happen and what you can do to help fix or prevent them.  We’ll start here with troubleshooting the making of annoying sounds, and in the next article, we’ll focus on troubleshooting bow control and physical restrictions you might be feeling about your use of the bow.

About videos — many of the exercises described below correspond to technique videos available on fiddle-online.com.  These videos allow you to work in real-time or at your own pace to make sure you learn and make use of the exercises while being reminded of what to aim for.  They can be very helpful because verbal descriptions are only a rough sketch of what to do.  In fact, often videos are not even enough — I’ve had many students discover that it takes a personal context to apply these ideas to their own playing.  If you feel this way, a one-off  online lesson can be arranged via the Credits Store.

Keep in mind that squeaks, scratches, and other weird sounds happen to everybody.  The worst thing you could do is to stop playing in the middle of a tune and try to fix these sounds, first of all because unless they are a regular occurrence, they are just a mistake, not a flaw; and second, because by disrupting the continuity and timing of a tune just to chase after a stray sound (or even a wrong note), you may well have hurt your playing with a worse mistake than the one that’s already water under the bridge.  Make a mental note about the problem, and see if it happens again in the same place (this helps build awareness and is a great performance skill).  If it does, there may be a technical problem to address — a trouble to shoot!

Below are suggestions for addressing and preventing the following problems:

  • squeaks
  • scratches
  • whistles
  • shaky bow or inconsistent sound
  • thin or timid sound

Continue reading Troubleshooting 2: Sound Problems