Note Names

Learning a different way to read: Note Names.
Why is this important and how will we use this?
This has everything to do with the key-signatures.
Check and see!

CVB2 Lesson 19 2 Note Names exerpt

92a

The Aeolian scale, maybe better known as the natural minor scale.
This is D-Aeolian.

92b

A-Aeolian scale.

92c

G-Aeolian scale.

93 100BPM

This etude is in the key of F-major.
Note that this scale has exact the same notes as the D-aeolian (natural minor) scale, which we practiced in the previous tabs.

93 120BPM

The etude with a bit more tempo.

Spiccato 1

A new bowing technique: Spiccato, from the Italian word “Spiccare” (Separate).
We have quite some  ways to play separated notes, like Portato and Martelé, where the bow stays on the string, and the Spiccato, where the bow bounces or jumps on the string.
This video is about the bouncing/jumping technique.
We will study this later in the course, but for now I will explain what it is.

Spiccato 2

A Spiccato starting with the bow on the string and throwing it up and land again.
This one starts with the up-bow, which we will use in the Menuet by J.B Lully (Tab 95)

Spiccato 3

Now we will start with the down-bow and add 2 jumps, both on the up-bow.
This prepares us for the Waltzing In Spring song, Tab 97.

94

We will study Spiccato 2 in a scale.
Play along with me.

Preparation 95

The Menuet is a dance in a 3/4 time-signature.
This one, composed by J.P. Lully (Barok), uses Spiccato 2 a few times.
Let’s practice those pieces before we can play the Menuet, (Tab 95).

95

Here it is, the Menuet by J.P. Lully (Barok composer).
You are the first violinist in the string quartet on the Backing Track.
(Download under the video).

96a

Now we will practice the Spiccato 3 in the scale of F-major, all in preparation for the Waltz in tab 97.

96b

Triad of F major exercise.
You can practice the bowing variation too, the Waltz (tab 97) will use it a lot!

96c

We will prepare a bit more for the Waltz, playing the F-triad with Spiccato 3.

Preparation 97

Let’s take a close look to what we will encounter in the Waltz (tab 97).
Study this well and you will be ready for Waltzing In Spring!

97

Here it is, Waltzing In Spring.
You are playing this with a string quartet!

Preparation 98

Another exiting bowing technique is one that emphasizes the afterbeat.
This is a very common bowing method in the Bluegrass and irish Folk.
The afterbeat is done with a down-bow, most of the rest goes on the up-bow.
Let’s try this!

98

This is the preparation for 99, a new song in an Irish style.

99 135 BPM

An Irish tinted tune, working with the afterbeat bowing technique.

99 160 BPM

Our Irish song with a little more tempo.

99 185 BPM

And now more up-tempo! For the “Die-Hards”.

100a C minor

In the combination between the 2nd and 3rd grip we will add the 4th finger now.
So we have a low or high (normal) 1st finger, and a low or high(normal) 4rth finger.
Look at the key signature (and fingercharts) to determine the placements of the fingers.

In this scale the 4th finger on the G-string is normal (the note D), the 4th finger on the
D-string is low, against the 3rd.
Beware of the huge distance between the high 4th on the G and the following low 1st on the D.
Stretch!!

100b G minor

Same as the previous, but now on the next string.

101 Un Historia De Amor (A Love Story)

This is a nice Bolero written by the Panamanian songwriter Carlos Eleta Almarán.

The melody is normally sung very freely.
The written score is normally just a reference.

The first round I will play it quite straight, just as it is notated, after the repeat sign I will play it more freely as an example.
You might notice the left hand “slides” I make, you can see them clearly in the left-hand insert-window.
Also the timing is more free, as I would say, as if I am singing it.