Our next song is called Long, Long Ago.
And this song should be a pretty straightforward one, there isn't anything too crazy about it, there
aren't any new concepts that we learn in this one.
However, some of the rhythm might be a little confusing.
So we'll take a look at it together.
But one piece of good news is that this is the first song that we've played together.
Now we're actually going to use the nurserymen.
Yes, we are going to play not just on the string into a string.
We're actually going to get to play on the G-string in the song.
So let's take a look at the song together and see exactly what's going on.
All right, so over here, we're going to discuss two things being discussed, the president a little
bit, and we're going to discuss the dynamics a little bit because there's a lot of interesting dynamics
here.
Let's start with the rhythm.
So as we talked about, we break down one, two and three, four and add just one little thing.
As a reminder, this thing means for four, which is the same as saying four beats.
OK, so just so you're not confused by that.
That's that's what that means.
Now, let's go to the next part.
Let's see if we can call this.
Try it on your own.
OK, hopefully you were able to come up with one, two and three.
Let's take another bar.
Take this one, try that on you.
Yeah.
I hopefully were able to say one, two and three, four, and kind of similar to the first part, and
that's pretty much it.
The rest of the song just follows those two rhythms, either one, two and three, four.
And as you see over here, over here, over here, everywhere, basically, or it follows one, two
and three, as you see here, here, here, all over the place.
And so those are the two main rhythms that you see.
And they're pretty straightforward.
All right.
Now, let's discuss the dynamics a little bit now that we are starting to get the hang of how the rhythm
works, what we have heard in the beginning.
Nothing too crazy about that.
But then we have a decrescendo over here.
Right?
So basically what I mean is that we start from that to Forte.
I would just go down to somewhere.
Maybe it's a piano or piano.
And then here's the other interesting part, is that from there we go, even north of where we probably
go to piano, if we're at a piano, probably go to the piano, maybe.
Right.
And now you might be wondering why don't we just have a continuous big decrescendo like that?
Well, there's a tiny bit of difference.
There isn't too much difference, to be completely honest with you.
You could just think of it as a long crescendo.
But decrescendo sorry, but the only difference that you could make is that you kind of arrive at Mezzogiorno
piano and then just hold that for a little while while you go over here and then you start declining
again.
OK, whereas if it was a giant decrescendo, you would just be declining the whole time without staying
at any given dynamic for any amount of period of time.
Still a very minor difference.
It's not going to be making a huge difference if you just decline the whole time.
So it's fine if you do that, too.
Again, we have another decrescendo here.
And here we have 40 decrescendo, so possibly we go from 40 to 40 and then here from 94 to we go to
a piano, which is indicated right afterwards.
Right.
And then here from the piano will probably go down, maybe piano, double piano or something.
Again, if it's not indicated, it's up to you really how soft you go.
But, you know, the softer the better.
It just creates a better effect.
And then down here, we have another 40.
Right.
And that's the thing.
The softer our softs are, the louder our forte is going to sound like.
Right.
And the more bombastic because there's only a limit to how loud or how bombastic you can play on the
violin.
But if you contrast it well enough with super soft pianos, a super soft double pianos or even maybe
soft metal pianos, then the forte is just going to seem really strong in contrast with the pianos.
OK, so that's just a little tip for you right there.
And of course I have another decrescendo and then we can decrescendo to any any desired dynamic over
here because it's not going to get it.
OK, I just wanted to run through the the dynamics a little bit with you.
Hopefully it makes sense and hopefully you are able to implement it.
Now, let's go ahead and take a listen and see how the song is played.
Now it's your turn.
Go ahead and practice the song and see how it goes.