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link to my video thread

also my YouTube channel is located at and in my signature below.

Hey @BillyG,

This explored path is a move to Alaska so that I can work a more serious job, and start a career. The violin may prove challenging to have aboard a 300 man vessel anchored at sea, but it would be nice to have my violin climatise to that sort of weather and further mature its sound.

I felt that now would be a good time to share some of my music notes. (Up for you all to interpret for yourselves) enjoy!

Music goals:

Focus on intonation; eyes up when playing. That way I can hear the notes better without being bogged down by visually finger placement.
06/29/15

Speedily ascend and descend scales from all positions. Be fluid in the execution, colorful in the timbre, slur and tie passages together with the up most of nimbleness.
07/13/15

Four note arpeggiated harmonics with melodic scales.
07/22/15

Play double stops with full bow strokes -thus play music slower. Simultaneously, increase speed with melodic scales. Resume melody on harmonic note; do not just play arpeggiated harmonics without diversifying said harmony.
08/02/15

Add colorful dynamics to music by half stepping transitions between incrementing and decrementing scales. With this, also add arpeggios.
08/03/15

The double stopped harmony is any given arpeggio sequence. Can be stacked and alternated.
08/04/15

Interchange harmony between high and low strings in order to creat the sonic illusion of two fiddles playing.
08/05/15

Traverse arpeggio sequences in harmony. (Not random repeats, but traverse in linear fashion)
08/06/15

Work on finger positions for each harmonic note. That is to play scales and double stops on four strings hitting harmony for specified note; this is to exercise memory of harmonic location.
Focus on the harmonic chords when you do it.
08/08/15

Work the octaves! Scale up and down while working to express your way over to the lowest and highest register in order to arpeggiate the octaves with double stops to express and elude the musical line.
08/28/15

play/land notes regardless of position. Keep eyes closed and ear to the instrument listen for the desired half steps and stretch the fingers to control a more broad range of notes (land notes by reaching and stretching).
09/20/15

Arpeggios to dramatically change color or to "rewind/fast-forward" a tune
10/19/15

The seventh is the glue while transitioning arpeggiated harmonic and scaled melodic lines
11/13/15

Gosh, there are two repeating/cyclical periods of my works in violin proficiency.

1. Experimental/ logical/ mathematical/ perpetually resolving arpeggiatic intonations of rhythm, I.E. Developing articulation routes that resolve each other, and or audibly extravagant patterns of the finger.

2. Sessions of unadulterated romanticism, bequeathed by pure emotion and fiddle.

P.s. These cycles can last anywhere from a single week into a month give or take days upon days; thus I digress in exactitude.

I performed for my 91 year old grandmother on thanksgiving, and I was so enveloped in the music that tears began leaking from my eyes. Now, during my practice sessions - I've had my throat choke up with feelings of emotion, but I've never wept. I can't help but consider this a major stepping stone in my hobby of music. This is why I love freestyle so much - you focus so much more on the music when it comes straight from your brain and heart.

my abilities to upload videos has been crippled, but I will try to give you all a video update to my video thread next week.

So I am now busking full time on the streets. Today I've reached new heights in fiddle playing - here is how it goes ...

for the first time, someone has tipped and then came back to listen some more. I was playing with new logic in part from @BillyG the C note is found right next to B and the same with the E and the F.  Therefor with this new knowledge I concocted melodies based on the following note combinations.

E,F,G Bb, C#

&

E F#,G,A,B C#

The Scale of Jacques is now irrelevant to me. I mean after this refinement I've concluded I can play (3^2 + 4*2) * 3 - 5*3 + X many notes. where X is equal to notes after the third G octave on the E string.

However, Scale of Jacques can prove useful for gypsy fiddle players.

Furthermore, I practice a chromatic scale with arpeggios and Puthagorean music theory. For example, ill practice on the a string something like B, C#, E, Ab/G#, B, A, F#, E , D, C, B, C, Db/C#, Eb, Gb, Ab, C, G#, F#, D#/Eb, C#, B, A. As for the Pythagorean theory it ultimately states that the notes A, D, and G are very important, almost holy; while B,C, E, & F must be used carefully. The Three can be played very naturally and sound great while the other four lead one into a rather trifle expression. In conclusion I target resolutions on A,D, & G.

http://www.sacred-texts.com/es...../sta19.htm

Here re is a question to ponder. Is there a tone between G# and Ab?

Hey everyone, its been a while since I've last posted, and I've came upon revelations. Epiphanies and ah hah moments. Of course, well : maybe - I've always assumed my progress is satisfactory. No, what I lack has been expression and beauty (Harmony). I had been mapping the fingerboard in my brain nearly everyday for hours without end. recently I got into practicing sharps and flats to some success, but intonation nearly always fails during times of intense music. I even came into making more very harsh semi-illogical double stops - the kind that were focused on intonation more so than music. That path of receiving strange looks and while mindfully contemplation progress in any aspect of musicianship.

During that course of soloing through tangents, unguided by knowledge, and lead wisdom I had successfully mapped the fingerboard inside my head. I am now able to utilize my talents' e.g. multitasking, logical structures, and with a sense of emotion I became able to articulate the sound I hum in my throat as I play music. It's truth that the human vocal chords comprise of significantly more tones than that of a fiddle. This revelation is to elaborate upon expression from which I use through this mind-music symbolic-instrumentals.

I'll be sharing a video very soon in this thread