Hi Dennis. I'm not sure advanced is quite the right word. Obsessive might be more appropriate! I worry about this sort of stuff so that other people don't have to!
@@TheFiddleChannel I have looked at a lot of TH-cam fiddle players and really admire Peakfiddler's song writing and playing, but you are the best teacher and with such broad playing styles and techniques. I'm ordering your Folk Fiddling book on Amazon. Thank you again.
@@TheFiddleChannel I agree. You've mentioned it many times. Putting it in the context of tunes helps me. I'll maybe have a look at your Patreon page. Thank you. 👍
I incorporated these into my practice warming up routine. I can't do the chords straight off - it's first the detached notes, then slowly easing into hitting two strings for the chord till they sound as good as I can get it, without wobbling. Then carefully on to the next, all the way through, and slowly back down again. And so on. I don't think it will ever sound all that good but it's now moderately faster, and some of the pairs are actually in tune, even the pinky stretch, and better than it was a couple of weeks ago. The lesson and the accompanying annotation hugely helpful. Thanks Chris!
I struggled with this until I pulled out my mandolin to use the frets as reference. Correct me if I'm wrong, but seems like the 1st, 4th, and 5th notes of the scale have the fingers close together, i.e. the lower note is one string lower and half a step down, and all the other notes have the fingers spread--one string lower and full step down. Perhaps not coincidentally the 1, 4, and 5 notes are the root notes of the major chords in the key.
Seems like you've got that right. But that approach makes more sense on the mandolin than it does on the fiddle. You would never go up a whole scale/octave on the same string on the fiddle so you'd never see that pattern. For me it's just a question of muscle memory so my fingers know where to go without being told.
I didn't explain myself very well. I didn't mean playing on a single string. I agree that muscle memory is the key, but until I get that down, remembering that the 1, 4, and 5 notes require close finger placement to hit the 6th (or 3rd), and other notes require the fingers to be spread to hit the flat 3rd. For example if playing in the key of G in first position, if the melody note is the G on the D string, I play it with my ring finger and my middle finger is on the G string playing a B, which puts the fingers close together. If I play the F# on the D string with the middle finger, I have to spread my index finger further apart to hit the A rather than the A#. It's just something that helps me remember finger placement until muscle memory kicks in. Love your videos and Patreon site! I'm learning a lot. @@TheFiddleChannel
It sounds pretty weird when you put it that way! It really depends where your starting point is. But Used in this way, the scale should always sound like a major scale.
Well... as for those who want to play REAL "folk fiddle" (which kind of Folk fiddle is that??!), please be advised: this is typically the classical approach: applying "the rules" regardless of any insight (or interest at all) in traditional music and/or specific fiddle styles. Playing folk music (or any specific style, I suppose) is not just about a few tricks, mind you....
Sometimes, concepts and ideas (like these suggestions, for example) are offered as a path to familiarity with a technique such as this. The individual offering this bit of education is quite diverse and extremely gifted on the instrument, with such a wide, worldly view of the violin and what roles the violin plays in so many styles, genres, and cultures. Purists seldom see beyond their own songbook, and it’s a rather unfortunate perspective to maintain. We see it here in the southeastern US quite often with the Old Time crowd, and I’ve experienced it firsthand with the weird & snooty blues crowd growing up. At no point in this lesson did the content creator ever say ‘master this and you will have mastered folk music”. That’s not what he does. This creator, however, DOES bring to us so many different perspectives on this instrument’s musical & cultural involvement throughout the world. Thank you so much for what you do, sir.
Your video lessons are great Chris - so useful! Thank you! :)
Good man Chris!!
This helped so much. Thank you!!!
You are so advanced! As a self taught adult I question my ability to get to that point. But thank you, for broadening my horizon.
Hi Dennis. I'm not sure advanced is quite the right word. Obsessive might be more appropriate! I worry about this sort of stuff so that other people don't have to!
@@TheFiddleChannel I have looked at a lot of TH-cam fiddle players and really admire Peakfiddler's song writing and playing, but you are the best teacher and with such broad playing styles and techniques. I'm ordering your Folk Fiddling book on Amazon. Thank you again.
@@roughout Thanks Dennis. I hope you enjoy it!
This kind of harmony is also known as inverted thirds- since it is a third which has been turned upside down or inverted!
Thank you for putting this in context Christ and for the examples. Much appreciated. 👍
Thanks John. More people should know about this scale!
@@TheFiddleChannel I agree. You've mentioned it many times. Putting it in the context of tunes helps me. I'll maybe have a look at your Patreon page. Thank you. 👍
I incorporated these into my practice warming up routine. I can't do the chords straight off - it's first the detached notes, then slowly easing into hitting two strings for the chord till they sound as good as I can get it, without wobbling. Then carefully on to the next, all the way through, and slowly back down again. And so on. I don't think it will ever sound all that good but it's now moderately faster, and some of the pairs are actually in tune, even the pinky stretch, and better than it was a couple of weeks ago. The lesson and the accompanying annotation hugely helpful. Thanks Chris!
Glad you've found this useful!
I guess it's kinda randomly asking but do anybody know a good place to stream newly released series online ?
@Aryan Derek flixportal :D
@Mario Princeton thanks, I went there and it seems like a nice service :D I really appreciate it!!
@Aryan Derek Happy to help :)
This is so helpful!! Thank you!!
You're welcome! If you send me an email to haighchris@hotmail.com, I will send you the Gypsy Waltz.
This helped me A LOT!!! Thank you very very much! :-)
great info. i play guitar but will try this on that.
Great lesson!
good lesson thanks
Very helpful Chris, thanks very very much. (.....) At 4:13 in the written example both f-sharps should be f-naturals?
Hi Jan. Glad you found this useful. And yes, you're right about the F's!
I struggled with this until I pulled out my mandolin to use the frets as reference. Correct me if I'm wrong, but seems like the 1st, 4th, and 5th notes of the scale have the fingers close together, i.e. the lower note is one string lower and half a step down, and all the other notes have the fingers spread--one string lower and full step down. Perhaps not coincidentally the 1, 4, and 5 notes are the root notes of the major chords in the key.
Seems like you've got that right. But that approach makes more sense on the mandolin than it does on the fiddle. You would never go up a whole scale/octave on the same string on the fiddle so you'd never see that pattern. For me it's just a question of muscle memory so my fingers know where to go without being told.
I didn't explain myself very well. I didn't mean playing on a single string. I agree that muscle memory is the key, but until I get that down, remembering that the 1, 4, and 5 notes require close finger placement to hit the 6th (or 3rd), and other notes require the fingers to be spread to hit the flat 3rd. For example if playing in the key of G in first position, if the melody note is the G on the D string, I play it with my ring finger and my middle finger is on the G string playing a B, which puts the fingers close together. If I play the F# on the D string with the middle finger, I have to spread my index finger further apart to hit the A rather than the A#. It's just something that helps me remember finger placement until muscle memory kicks in. Love your videos and Patreon site! I'm learning a lot. @@TheFiddleChannel
My goodness. I have SUCH a long way to go!!! 😳😳
But at least you now know where you want to go!
Cool 👍
A mixolydian scale on the bottom and a phrygian scale on the top, essentially?
It sounds pretty weird when you put it that way! It really depends where your starting point is. But Used in this way, the scale should always sound like a major scale.
Classical musicians (like me) get drilled on this…
Well... as for those who want to play REAL "folk fiddle" (which kind of Folk fiddle is that??!), please be advised: this is typically the classical approach: applying "the rules" regardless of any insight (or interest at all) in traditional music and/or specific fiddle styles. Playing folk music (or any specific style, I suppose) is not just about a few tricks, mind you....
Interesting point of view! Which of my examples would you say was inappropriate?
Sometimes, concepts and ideas (like these suggestions, for example) are offered as a path to familiarity with a technique such as this. The individual offering this bit of education is quite diverse and extremely gifted on the instrument, with such a wide, worldly view of the violin and what roles the violin plays in so many styles, genres, and cultures.
Purists seldom see beyond their own songbook, and it’s a rather unfortunate perspective to maintain. We see it here in the southeastern US quite often with the Old Time crowd, and I’ve experienced it firsthand with the weird & snooty blues crowd growing up. At no point in this lesson did the content creator ever say ‘master this and you will have mastered folk music”. That’s not what he does.
This creator, however, DOES bring to us so many different perspectives on this instrument’s musical & cultural involvement throughout the world. Thank you so much for what you do, sir.