all right guys this is the g minor natural scale and we've got a backing track here um we've got an open g uh a b flat c d back extension on that flattened e then the f back down to normal position first position and then the g f back extension d c b flat a and g

okay and the fingering is open one two three open one two four two one open four two one open okay um i think that's all you need to know really i guess the tricky bit is is really just getting scripts with that back extension that you're coming from the c and then the open d and get that back extension and then just come back down okay so it's not too bad we've done these um back extensions for this uh e-flat we've done lots of pieces on all my classes we've covered that already um try and do this by memory if you can now there are according to the uh grade two requirements you would uh for the long-term version i think and the other version you'd have to down and then different um directions bow movements for that and you finish on a nut bow on the opposite fire and then you're back down on the down bow on the long tonic an optional flare but when you do the slurred version you have you you're expected to down bow on the open g and then they're in couplet so so two notes so down up up down up up down up up down down up up down okay so practice both

and there we go and it's just really slowly at first so let me turn this volume up and i'll leave that on for a minute and you can practice yourselves

okay guys hope that was enough um keep at it i will do the minor melodic tomorrow and uh the harmonic we're working our way through this whole book um it's great fun i love my scales practice in different ways give it some uh jazz give it some pop rock give it some um you know give it some swing obviously that's the sort of jazz thing you could get more notes into one bow than two but for grade two um you've got to be a bit more prescriptive bye

all right guys this is the g minor natural scale and we've got a backing track here um we've got an open g uh a b flat c d back extension on that flattened e then the f back down to normal position first position and then the g f back extension d c b flat a and g

okay and the fingering is open one two three open one two four two one open four two one open okay um i think that's all you need to know really i guess the tricky bit is is really just getting scripts with that back extension that you're coming from the c and then the open d and get that back extension and then just come back down okay so it's not too bad we've done these um back extensions for this uh e-flat we've done lots of pieces on all my classes we've covered that already um try and do this by memory if you can now there are according to the uh grade two requirements you would uh for the long-term version i think and the other version you'd have to down and then different um directions bow movements for that and you finish on a nut bow on the opposite fire and then you're back down on the down bow on the long tonic an optional flare but when you do the slurred version you have you you're expected to down bow on the open g and then they're in couplet so so two notes so down up up down up up down up up down down up up down okay so practice both

and there we go and it's just really slowly at first so let me turn this volume up and i'll leave that on for a minute and you can practice yourselves

okay guys hope that was enough um keep at it i will do the minor melodic tomorrow and uh the harmonic we're working our way through this whole book um it's great fun i love my scales practice in different ways give it some uh jazz give it some pop rock give it some um you know give it some swing obviously that's the sort of jazz thing you could get more notes into one bow than two but for grade two um you've got to be a bit more prescriptive bye

Suzuki Cello ABRSM Grade 2 G Minor Natural Scale Lesson Sarnia Private Tuition.

all right guys this is the g minor natural scale and we've got a backing track here um we've got an open g uh a b flat c d back extension on that flattened e then the f back down to normal position first position and then the g f back extension d c b flat a and g

okay and the fingering is open one two three open one two four two one open four two one open okay um i think that's all you need to know really i guess the tricky bit is is really just getting scripts with that back extension that you're coming from the c and then the open d and get that back extension and then just come back down okay so it's not too bad we've done these um back extensions for this uh e-flat we've done lots of pieces on all my classes we've covered that already um try and do this by memory if you can now there are according to the uh grade two requirements you would uh for the long-term version i think and the other version you'd have to down and then different um directions bow movements for that and you finish on a nut bow on the opposite fire and then you're back down on the down bow on the long tonic an optional flare but when you do the slurred version you have you you're expected to down bow on the open g and then they're in couplet so so two notes so down up up down up up down up up down down up up down okay so practice both

and there we go and it's just really slowly at first so let me turn this volume up and i'll leave that on for a minute and you can practice yourselves

okay guys hope that was enough um keep at it i will do the minor melodic tomorrow and uh the harmonic we're working our way through this whole book um it's great fun i love my scales practice in different ways give it some uh jazz give it some pop rock give it some um you know give it some swing obviously that's the sort of jazz thing you could get more notes into one bow than two but for grade two um you've got to be a bit more prescriptive bye

Suzuki Cello ABRSM Grade 2 G Minor Natural Scale Lesson Sarnia Private Tuition.

all right guys this is the g minor natural scale and we've got a backing track here um we've got an open g uh a b flat c d back extension on that flattened e then the f back down to normal position first position and then the g f back extension d c b flat a and g

okay and the fingering is open one two three open one two four two one open four two one open okay um i think that's all you need to know really i guess the tricky bit is is really just getting scripts with that back extension that you're coming from the c and then the open d and get that back extension and then just come back down okay so it's not too bad we've done these um back extensions for this uh e-flat we've done lots of pieces on all my classes we've covered that already um try and do this by memory if you can now there are according to the uh grade two requirements you would uh for the long-term version i think and the other version you'd have to down and then different um directions bow movements for that and you finish on a nut bow on the opposite fire and then you're back down on the down bow on the long tonic an optional flare but when you do the slurred version you have you you're expected to down bow on the open g and then they're in couplet so so two notes so down up up down up up down up up down down up up down okay so practice both

and there we go and it's just really slowly at first so let me turn this volume up and i'll leave that on for a minute and you can practice yourselves

okay guys hope that was enough um keep at it i will do the minor melodic tomorrow and uh the harmonic we're working our way through this whole book um it's great fun i love my scales practice in different ways give it some uh jazz give it some pop rock give it some um you know give it some swing obviously that's the sort of jazz thing you could get more notes into one bow than two but for grade two um you've got to be a bit more prescriptive bye

Suzuki Cello School Book 1 Rigadoon Private Lesson Sarnia School of Music Free Class.

hi guys welcome to riga dune now this is an in-depth look at riga doing it might be better for adults or um students who who are a little bit more understanding of my warblings so it's rigadoon it's suzuki book one and it's um a bit boring actually if i'm honest but it's only boring because it looks like there's not much going on but i'm going to point out all these different things that are actually going on okay now put a version up by vapor pump it's slowed down a bit i think

i think that's probably about the speed that uh this is

it could be i suppose um but we're going to do a bit sir

now what is important the most important thing about this piece is this in the internalizing of the pace if you if you count one two three four when you start a piece you still always be slow so one two three four one two three four one two three four one two

three four one two three four

lift the bow to the frog okay that's one of the bigger problems we've got to um we're now we're on a down bow all the way to the tip probably near the tip for that uh dotted note count of three and then we've got to get back up for this b but we're not doing enough but we're doing a down bow so we've got to move okay so down to the tip move

that's the other problem is the increase in volume it's a different mood different mood okay it's an awful lot going on isn't there so you've got to remember to hold those dotted notes you've got to remember to make it loud um you've got to remember to try and it give a different inflection remember if you listen to my earlier class i talked about giving each note of personality so

this first g has a different personality to the second g why all notes have their own personality all notes have a different function all of them this first g is the start and it's a down bow

the next note is a linking note and it's an up bow it's completely different the inflections need to change they're taking you on a journey to a downward point a lower point on the register and it's an open d how do we make that d sound interesting how do we give that decent personality we inflict something

do you see we start with a bit more energy coming from what is this a child on my cat i'm not sure the energy doesn't come from your hand it comes from your back um and from uh you're working with gravity to create you've plopped the bow on of course the gravitate gravity pull because you're at the frog near the frog is uh is down towards the tip so we're pulling against it we're going to use the energy from our arm and our upper arm our shoulder to get this and then we've got an up bow and it's a linking note it's another linking note and it's a if i was to sing this it would be to see the difference the same note complete different personalities and this is what happens as you go along each note has its own unique purpose and personality if you don't give it personality you don't look at each note independently as part of the whole of course you're going to make a really boring performance okay every single note needs to be perfect so i'd recommend that you practice single notes just to sing single notes let's practice that first note and go back to the frog and back to the frog and then let's practice the second note it's a nut bow and back to the tip

and then a jumbo and then a knot bow

come again do you see

or so many different ways you can play it and when you disconnect the notes like that they don't make much sense of course they don't but it's a real way of understanding what you need to do with it as a digital composer i can add inflection volume velocity um vibrato i can do all of these things and when you do it on a computer it helps you see how you can do it with your hand and your body

um i think...

Suzuki Cello School Book 1 Rigadoon Private Lesson Sarnia School of Music Free Class.

hi guys welcome to riga dune now this is an in-depth look at riga doing it might be better for adults or um students who who are a little bit more understanding of my warblings so it's rigadoon it's suzuki book one and it's um a bit boring actually if i'm honest but it's only boring because it looks like there's not much going on but i'm going to point out all these different things that are actually going on okay now put a version up by vapor pump it's slowed down a bit i think

i think that's probably about the speed that uh this is

it could be i suppose um but we're going to do a bit sir

now what is important the most important thing about this piece is this in the internalizing of the pace if you if you count one two three four when you start a piece you still always be slow so one two three four one two three four one two three four one two

three four one two three four

lift the bow to the frog okay that's one of the bigger problems we've got to um we're now we're on a down bow all the way to the tip probably near the tip for that uh dotted note count of three and then we've got to get back up for this b but we're not doing enough but we're doing a down bow so we've got to move okay so down to the tip move

that's the other problem is the increase in volume it's a different mood different mood okay it's an awful lot going on isn't there so you've got to remember to hold those dotted notes you've got to remember to make it loud um you've got to remember to try and it give a different inflection remember if you listen to my earlier class i talked about giving each note of personality so

this first g has a different personality to the second g why all notes have their own personality all notes have a different function all of them this first g is the start and it's a down bow

the next note is a linking note and it's an up bow it's completely different the inflections need to change they're taking you on a journey to a downward point a lower point on the register and it's an open d how do we make that d sound interesting how do we give that decent personality we inflict something

do you see we start with a bit more energy coming from what is this a child on my cat i'm not sure the energy doesn't come from your hand it comes from your back um and from uh you're working with gravity to create you've plopped the bow on of course the gravitate gravity pull because you're at the frog near the frog is uh is down towards the tip so we're pulling against it we're going to use the energy from our arm and our upper arm our shoulder to get this and then we've got an up bow and it's a linking note it's another linking note and it's a if i was to sing this it would be to see the difference the same note complete different personalities and this is what happens as you go along each note has its own unique purpose and personality if you don't give it personality you don't look at each note independently as part of the whole of course you're going to make a really boring performance okay every single note needs to be perfect so i'd recommend that you practice single notes just to sing single notes let's practice that first note and go back to the frog and back to the frog and then let's practice the second note it's a nut bow and back to the tip

and then a jumbo and then a knot bow

come again do you see

or so many different ways you can play it and when you disconnect the notes like that they don't make much sense of course they don't but it's a real way of understanding what you need to do with it as a digital composer i can add inflection volume velocity um vibrato i can do all of these things and when you do it on a computer it helps you see how you can do it with your hand and your body

um i think...

Rigadoon Vapor Punk Suziki Cello School Book 1 Free Kid's Cello Lessons Online

Rigadoon Vapor Punk Suziki Cello School Book 1 Free Kid's Cello Lessons Online

Suzuki Piano School grade 8 Scales C Minor melodic Fingering and Notes with Sarnia.

hi telltalers right we're going to do a c minor melodic scale um four octaves we're doing the right hand two octaves and the left hand two octaves so um this is a workhorse class i'm not going to talk too much i'm just going to play the notes um on the right hand first and i'm going to here's the procedure i'm going to play calling out the note names and then i'm going to play calling out the fingering and then i'm going to do the same with the left hand okay so we're starting on middle c with the right hand c d e flat f g a natural b natural c d e flat f g a b c now we're coming down and we're flattening b flat a flat g f e flat d flat uh d natural sorry c fourth over on the uh flat b flat a flat g thumb on the f e flat d and one on the thumb uh one on the c sorry okay it's really hard very hard to talk and play scales let's look at left hand we're looking at an octave lower c d e flat f g a natural b natural c fourth over d e f g a natural b natural c on the way down we're flattening as per key signature b flat a flat g f e flat d c b flat a flat g f e flat d and c i will now uh call out the fingering with the right hand one two three one two three four one two three four one two three four five four three two one three two one four three two one three two one commit this to memory this fingering is uh little will put you in good stead for all music that you play relies on the fingering that we practice during our scales left hand five four three two one three two one four three two one three two one two three under one two three four one two three under one two three four and five okay that is it now practice them independently over and over and over look do you know what i like to do i like to um play them in different ways or give them a swing maybe you know

jazzy pop sometimes uh you can also just play uh some chords take them from the the same scale

and play the right hand scale along with that i mean this is the this is what improvising is all about isn't it um experiment when you get really good at it well do you know what i think um sitting down just doing scales up and down ball and bowling broom but if you do something like put on a backing track um if you come across a song that's in c minor melodic um and play it or just c minor and see what happens um and play it in the background you know pop song or a classic piece of classical music and then you just play your scales over the top to the rhythm it's fantastic fun super fun and so you could do that um now for if you're working through the grades um you you'll be expected to do a legato and a staccato um so obviously

um that's your staccato notes um well actually that was on the way up so they would have been natural a and b but you get the drift um so the c minor harmonic is a bit different but and we'll do that tomorrow so this was the melodic um so yes this would be the staccato and then the legato would be like that so you practice them in different ways you could do them quietly you could do them loudly you could do them becoming more intense as you get to the top for example like passionate and then um coming down and calming down all these different ways that you can um you know have a bit of a laugh with them okay so i think that's it for c minor melodic i really enjoyed that i hope you did too and you're never too much of a beginner not to work on advanced scales because when when what being an advanced musician really means is yeah okay there's some technical skills you're you're getting better at but really it's all about the expanse of your note knowledge so you start off with you know these two two octaves here i think actually suzuki goes a bit higher doesn't it because that's why i quite like suzuki because you start on this register quite early on whereas with the grades it tends to be a little bit more restrictive...

Suzuki Piano School grade 8 Scales C Minor melodic Fingering and Notes with Sarnia.

hi telltalers right we're going to do a c minor melodic scale um four octaves we're doing the right hand two octaves and the left hand two octaves so um this is a workhorse class i'm not going to talk too much i'm just going to play the notes um on the right hand first and i'm going to here's the procedure i'm going to play calling out the note names and then i'm going to play calling out the fingering and then i'm going to do the same with the left hand okay so we're starting on middle c with the right hand c d e flat f g a natural b natural c d e flat f g a b c now we're coming down and we're flattening b flat a flat g f e flat d flat uh d natural sorry c fourth over on the uh flat b flat a flat g thumb on the f e flat d and one on the thumb uh one on the c sorry okay it's really hard very hard to talk and play scales let's look at left hand we're looking at an octave lower c d e flat f g a natural b natural c fourth over d e f g a natural b natural c on the way down we're flattening as per key signature b flat a flat g f e flat d c b flat a flat g f e flat d and c i will now uh call out the fingering with the right hand one two three one two three four one two three four one two three four five four three two one three two one four three two one three two one commit this to memory this fingering is uh little will put you in good stead for all music that you play relies on the fingering that we practice during our scales left hand five four three two one three two one four three two one three two one two three under one two three four one two three under one two three four and five okay that is it now practice them independently over and over and over look do you know what i like to do i like to um play them in different ways or give them a swing maybe you know

jazzy pop sometimes uh you can also just play uh some chords take them from the the same scale

and play the right hand scale along with that i mean this is the this is what improvising is all about isn't it um experiment when you get really good at it well do you know what i think um sitting down just doing scales up and down ball and bowling broom but if you do something like put on a backing track um if you come across a song that's in c minor melodic um and play it or just c minor and see what happens um and play it in the background you know pop song or a classic piece of classical music and then you just play your scales over the top to the rhythm it's fantastic fun super fun and so you could do that um now for if you're working through the grades um you you'll be expected to do a legato and a staccato um so obviously

um that's your staccato notes um well actually that was on the way up so they would have been natural a and b but you get the drift um so the c minor harmonic is a bit different but and we'll do that tomorrow so this was the melodic um so yes this would be the staccato and then the legato would be like that so you practice them in different ways you could do them quietly you could do them loudly you could do them becoming more intense as you get to the top for example like passionate and then um coming down and calming down all these different ways that you can um you know have a bit of a laugh with them okay so i think that's it for c minor melodic i really enjoyed that i hope you did too and you're never too much of a beginner not to work on advanced scales because when when what being an advanced musician really means is yeah okay there's some technical skills you're you're getting better at but really it's all about the expanse of your note knowledge so you start off with you know these two two octaves here i think actually suzuki goes a bit higher doesn't it because that's why i quite like suzuki because you start on this register quite early on whereas with the grades it tends to be a little bit more restrictive...