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Honorary advisor
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Taking a step back and working arpeggio - trying to eliminate the unnecessary and find the patterns.
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There are a combination of things happening here. Your sound production is not bad and your vibrato seems to come quite easily. One of the things that make listening to this less enjoyable than it might otherwise be is your intonation. Never underestimate the importance of good intonation. Even if you are being very creative and playing dissonant music, you want it to be clean.
The tree above you is SUPER cool BTW.... 
"The richest person is not the one who has the most,
but the one who needs the least."
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@Fiddlerman I think the intonation is getting better on this video. I still spot about four places where it is really off...
Many current goals is to continue to build a solid foundation of key based on the root of a given arpeggio. The pattern I find is for instance:
A C E G A C E F A C E G (a Major?)
A C E G B C E F A C D F A B D F A (a Minor?)
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Yes, better
This is what I'm talking about. You can obviously hear it, you know about it, and that is one of the most important steps towards making it more enjoyable for others.
Keep on fiddlinnnnnnnnn. Thanks for the post.
"The richest person is not the one who has the most,
but the one who needs the least."
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@Jacques Don't ever think of it as a step back!! You are building a stronger base!!
Cool idea- there is a member here who was self taught and he learned the tone of each note by playing with a tuner on continuously. I have tried it on many occasions. I do think my ear is slowly developing.
Violinist start date - May 2013
Fiddler start date - May 2014
FIDDLE- Gift from a dear friend. A 1930-40 german copy, of a french copy of a Stradivarius. BOW - $50 carbon fiber. Strings - Dominants with E Pirastro Gold string.
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Jacques said
A C E G A C E F A C E G (a Major?)
A C E G B C E F A C D F A B D F A (a Minor?)
Sorry, I missed this. The answer for the above is minor.
Not sure what you are looking for with the second example.
A major arpeggio would be A C# E .........
If you want to include the leading tone you would need to add a sharp to the G. In your case above it would need to be A C# E G# as many octaves as you please.
"The richest person is not the one who has the most,
but the one who needs the least."
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Here is today's video. Arpeggios in the "key" of A, B, C, and finally D. I'm not sure if key is the proper word used to describe this approach...
This week's goals is solid foundationing of arpeggios beginning with C & D.
Next at week is E & F, and then I'll wrap the end of this month up with G. My purpose in this regime is to boost versatility in melodic through a subconscious root/tonic note. In regards to finger patterns their will inevitably be consistencies, however that is where confusion appears IE remembering the tonic / leading tone.
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In regards to my last post... My goals were set according previous ideas of inspiration. As of today I've discovered new inspiration. That inspiration is a more systematic approach to double stops IE arpeggio practice has payed off too my ability to map out the keyboard; thus improvised harmony may have improved. I'll be practicing/ implementing harmony alongside regular arpeggio and scale practice.
regular arpeggios
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Diatonic & arpeggiated melody with harmony
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The extent of my harmony and melody is available in 'violin freestyle 9'
@Fiddlerman
typically my approach to arpeggios are as follows : I>III>V>VII>II>IV>VI>I should I move onto more random three note arpeggios such as : II>V>I & other things like that? What do you think would be a nice combo to get started on?
What is the secret to creating consistent melody?
I find myself able to occasionally create nice music but most of the time it can be random assortments of un-melodic tones. Is it because I'm trying to create colorful music by fingering to linearly?
ie (1,3,5,3,7,5,6,1,7 etc. versus something like 2,5,1,3,5,1,2,5,1)
Does one need to take mental note of a sequence and then implement said sequence across a variety on toneys. One would need to count letters like numbers or visa versa. Violin freestyle 9 opens with a great sequence; I performed it by ear/calculating arpeggios on the fly, but I didn't retain in memory the resulting formula.
On another key - my harmonics/double stops are calculated by fingering a generic arpeggio and matching another finger with a note that is a third, fourth, or sixth above or below the arpeggio. I can also play it in scales which sounds fantastic - generic arpeggiating to find a melody, and harmonizing a scale along side it and eventually I land on fifths!
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Here is II > V > I freestyled arpeggio
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In this video i utilize a two note/tone harmony.
I'm excited to share the difference with you all.
COMMING SOON (in my next video post)
old method - play arpeggio with random double stoped harmony (all videos excluding the one in this post)
new method - play arpeggio as a double stopped harmony; that is all stops will be native to a given arpeggio sequence. In other words, I'll be raining down two different arpeggiated scales at once.
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Deliberately practicing chained arpeggio doublestops
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COOL ! I know exactly where you're coming from on that ! When I started, it was SO EASY to hit two strings at the same time ! LOL - now it takes so much more control to "do it on purpose" - get the three "other-bow-planes" into action.... and INTEND to do it... good work - I doubt if I heard a single-string there - looks to me like you got the bow-angle pretty much under control there @Jacques
I seriously recommend not copying my mistakes. D'oh - 
Please make your own, different mistakes, and help us all learn :-)
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Thanks @BillyG
How would you tweak or improve this style of performance?
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Ok guys and gals here is my latest video. Recorded today so it is my latest works. I'm focusing on doublestops and utilizing open strings to further harmonize and or arpeggiate the melody. It can add a lot of tough feelings, and sometimes my fingers get in the way of the string vibration causing a rasp. I suppose I need to practice "bouncing" and open string with zero fingers on the board...
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Thanks for posting Jacques. I heard the double stops. I don't know a lot about improv playing. Bill is right.. your bowing seems very in control and good angles.
Vibrato Desperato.... Desperately seeking vibrato
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Hey all, long time no posts' so here is a remedy.
well after the videos are uploaded I will share them with you all. Be ready to be astounded because the first video is a lovely arpeggio scale warm up in doublestoped form. The second video is a sonata in with emphasis on doublestops. My desire is to improvise music and have it sound as if there is an accompaniment violin. So doublestops +open strings is the name of the game.
Check back in about two hours and the videos should be posted!
Be willing to criticize and review...
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