All posts by PatrickClark

Utah Music Educators Association Convention

For those of you interested in attending the Utah Music Educators Association conference, it’s this weekend inSt. George, Utah.  Patrick Clark will be presenting there on Friday and Saturday.  He’ll also be performing with a group called Simply Three.  Come join us for a great weekend!  Here’s the schedule!

Friday, February 6, 2015:

1:30-2:30 PM – “Fiddling, The Nuts and Bolts”

5:00-6:00 PM – Headliner Concert with Simply Three

Saturday, February 7, 2015:

10:25-11:25 AM – “Fiddling In The Classroom and Private Studio”

12:40 – 1:40 PM – “The Professional Musician” Higher Education Clinic

See you in Utah!


New Year, New Goals

As you approach the new year, I’m sure you have a few resolutions.  For me, it’s drinking less coffee, avoid getting distracted by my phone so much, and focusing on being an even better father and teacher.  But for those of you trying something new, like fiddling, or picking up the fiddle after some time off, I’d like to offer some suggestions that will help you get started and stay on course.

1.  Get the book.  Fiddling, The Basics and Beyond, was written to take you step by step, no matter your playing ability, through the difficult and rewarding world of playing fiddle.  There’s over two and a half hours of audio recordings at multiple speeds for EVERY VERSION of every tune.

2.  Once you have the book, browse through it and see which tune, and it’s version, applies to you.  If it’s the beginning, great!  If it’s in the middle of the book, that’s cool too!

3.  Now that you’ve chosen the tune, find the FREE etude video at, that goes with your tune.  Do this FIRST.  The etudes are built to prepare you for the tune, not to be done as an afterthought.

4.  Once you’ve mastered the etude, purchase the video that matches the version you’re learning.  Then, take your time.

5.  Be consistent!  If you really want to make the most out of this, 30 minutes a day will help get you on your way.

6.  Take it slow.  Don’t try to learn and perfect the entire tune in one day!  Get comfortable with a set of bars, then move to the next, then the next.  Once you have it all steady at one, slow tempo, then start using a metronome to speed it up.

7.  Be patient with yourself.  If you get mad, you will be tense.  That’s not good.  If you find yourself getting frustrated.  Walk away, clear your head and come back later.  But forgive yourself and accept the mistakes as the chance to make progress.  Focus on the sound you want, not the mistakes you’ve made.

8.  Ask questions!  I’m here to help!  Feel free to email me!


Boil Them Cabbage Down Preview

By Patrick Clark

We are constantly working on ways to improve our website to make it easier for you to use.  This week, we want to showcase the preview video that we created to help you decide which version is best for you.  So, please, take a moment to watch and choose your version.  Any questions, just email us.

Boil Them Cabbage Down, Preview


Getting Stuck

By: Patrick Clark

I had a private student come in today, who I’ve had for a year.  Before me, he had another teacher for a year.  His total playing time is now two years and we haven’t passed the twinkles.  I finally have him where his technique is really consistent, but he’s been having incredible pitch issues.  AND he has finger tapes.  I was really surprised, and a bit frustrated.  Then it dawned on me… He’s been on the same tunes for two years.  He doesn’t care about the pitch.  The poor kid is bored!

So, I put him on the next piece, removed two finger tapes and there it was.  PITCH!  He finally found it!  He didn’t have the feel of the tapes so he was forced to use his ears AND he had to think differently because he had no clue what he was doing with the new piece.  It was a rough go at the beginning of the lesson but he came around.

So, how does this apply to the folks at Learn Fiddle Online?  Well, here’s how.  If you find yourself staying on the same tune for too long, trying to perfect it, you may want to move laterally in difficulty or just move forward a bit.  Sometimes, the demands of the slightly harder piece force you into the right technique, or pitch in this case, without even realizing it.  Sometimes, you just have to change it up.

So, lets say you’re working on Cripple Creek, Version 2.  Maybe it’s been a long time and it’s just not where you want it.  First, trouble shoot the way you’re practicing.  Check out my post about practice habits.  Then, contact us on Facebook.  While you’re doing this, you may want to consider looking at Old Joe Clark Version 2.  It’s a little more advanced but it might change it up enough to force you out of a bad habit.  Also, check out the FREE technique videos that accompany Cripple Creek and Old Joe Clark.

This is just one small scenario but the principles still apply for whatever tune you’re working on.  Remember, I’m here to help!  I truly want you to succeed so feel free to ask questions.

A New School Year Brings New Practice Habits

By: Patrick Clark

It seems like school starts earlier every year.  I think in most cases, it actually does.  Either way, this is an exciting new year for me as a teacher.  I’ve been appointed to be the director of a program at a charter school here in Las Vegas called, Rainbow Dreams Academy.  The unique part of my position is that I am actually starting this program from scratch!  What a privilege!  In addition to Rainbow Dreams, I am continuing to grow my private studio at Nevada School of The Arts.  Add Learn Fiddle Online in the mix and you could say I’m a busy guy.

All of this experience is giving me so many ideas on future videos to share with my customers at Learn Fiddle Online.  It’s very exciting.  But as we approach a new school year, I want to encourage you to practice smart this school year.  So often, students are sent home to practice, but have no idea how to approach the tune, or piece.  The answer is subjective but let me give you the basics of a good practice.

1. Warm Up!

“How,” is a question you might ask.  That depends on your skill level.  If you’re an experienced player of two or more years, try long tones on each string at a slow tempo with no fingers.  Just see what the instrument feels like.  Then try the FREE Every Open String Etude video with me.  Then try a scale.

If you’re a beginner, try pulsing eighth notes on the “E” string.  Try 4 times in a row with a metronome set at 70-80 beats per minute.  Try this on the “A” string next.  Then, alternate back and forth.  Either way, you should spend about 10 minutes doing the basic warm up.  Then it’s time to challenge yourself with a technique exercise!  There are tons of etudes to try in my book “Fiddling, The Basics and Beyond.”

2. Treat Yourself To an Etude Challenge

See if you can find an etude that stretches you a bit, but is still achievable in a short period of time, (10-15 minutes or so.) Start slow and be very particular about your pulse, your tone, and your feel.  Don’t go nuts trying to perfect it, just improve it.

3. Tune Time

No, I don’t mean tune your fiddle! That should have happened a while ago!  It’s time to work on your tune!  Find the section you’ve been working on and take another SLOW whack at it.  See how it sounds.  Then, make it better, slowly.  Maybe try another section, SLOWLY.  You can build your speed short stints at a time.

4.  Finish With Something You Know!

When you’ve fried your brain, take two minutes to play through something your hands are very used to playing.  Chances are, it’s going to sound better than it did the last time you played it because you’ve been concentrating on improving other aspects of your playing.  Take a comfortable speed so you feel good finishing up.

5. Set a goal for the next practice, clean your instrument before you put it away.




Best Beginner Fiddle

By: Patrick Clark

After playing for over 25 years, and teaching for almost 15 of those years, I’ve had the opportunity to try nearly every “brand name” student fiddle on the market.  I’ve found some amazing, inexpensive fiddles in my day.  But finding the best, most consistent brand, can be very hard.  When talking about “student” instruments, there are several factors that you have to consider.

1. Size (Is the student a child or an adult)

2. Price (There is a breaking point between student and advanced)

3. Manufacturer

So, let’s talk about the size first.  There are a lot of choices out there for fractional size student instruments.  Most, these days, are made in China.  But, let’s be honest, how much sound can you really get out of an 1/8 size violin? Or, even a 1/4 size?  The answer is, not really that much.  Quality and consistency is very important but peeling paint off the wall like a 17 million dollar Guarneri?   Well just look at the price tag, it’s probably an unrealistic expectation for a fractional size.

The bottom line is, the instrument has to have a good, rich (enough) sound, and be set up properly.  It must be forgiving when you play it.  Set up is EVERYTHING folks!  The initial muscle memory put into the hands is FOREVER.  Therefore, when choosing an instrument to learn on for the first time, you may become very overwhelmed with the options.  And, chances are, you have no idea what you are doing or looking for.  A great recipe for OVERLOAD!!!!

I spent about a year and a half working for Eastman Music Company, in California.  While there, my job was to travel all over the country selling Eastman’s violins to violin shops.  I played HUNDREDS of student, step up, and professional instruments.  The constant that seems to be an issue with many student instruments is nut heights, bridge heights, and neck placements.  All of which, if you’re not hip to these issues, may be overlooked.  I’ll come back to Eastman in a minute.

Price. Price! PRICE!!! If you’re looking to buy, you’re going to have to spend AT LEAST $500 or more for a DECENT STUDENT FIDDLE.  REGARDLESS of size.  There was an article that was shunned for calling some sub par instruments Violin Shaped Objects.  VSOs for short.  The author was RIGHT.  You might get lucky and get something for cheaper, but the old adage, “you get what you pay for,” applies here.

Now back to Eastman.  There are many instrument manufacturers all over the world.  I could tell you a few that I don’t believe in, but let’s not waste your time with negatives.  Eastman Music Company is the distributor AND manufacturer of their instruments.  This means that they have complete quality control over their product.  I’ve been a clinician for Eastman for almost 6 years.  A year and a half of those 6 years, I was an employee.  I left the company to pursue my passion for teaching and I currently continue to be a national clinician for the company today.

My passion for education and demand of quality from my students, and business associates leads me to recommend Eastman violins/fiddles for the FIRST student instrument.  Every beginner I take, I put on an Eastman.  It has nothing to do with business loyalty or internal politics.  It has everything to do with quality.  So, in a culture where we feel the need to trust big names, Eastman, is one that you can trust.  The company has a customer satisfaction promise that is very fair.  I stand by them both as a clinician, and as a consumer.

Best Beginner Instrument = Eastman Fiddle

For more information about purchasing an instrument, or to consider renting, check out my book, “Fiddling, The Basics and Beyond.”


Violin or Fiddle, That is The Question

By: Patrick Clark

The single most asked question I get from non-musicians is this; “What’s the difference between a violin and a fiddle?” The first few times I heard it, as a very young boy, I thought, “really?  Are you REALLY, asking me that?” But then it started happening all the time.  That’s when I realized, many people really DON’T know.  So, here’s what many “fiddle” players, who are untrained, say.

Although it technically is EXACTLY the same instrument, which it is, fiddle players flatten their bridge so that string crossings are easier.

To this, I say, “hmmmmm”.  For those of you who may be insulted by this, please, don’t take offense.  You may not understand how tension works in relationship to the string heights.  So, allow me to elaborate a bit.

Let’s start with some questions.

Q:  Which string, of the four strings on your fiddle, do you think has the highest tension?

A:  Your highest (sounding) string, the E string.

Q:  Which string, of the four strings on your fiddle, do you think should be closest to the fingerboard?

A:  Your highest (sounding) string, the E string.

Now, let’s explain the relationship.  The higher pitch, the thinner the string, the higher the tension, the closer to the fingerboard it has to be.  Within reason of course.  Imagine for a minute, a trampoline. If your trampoline is not tight enough, when you bounce, you bottom out and your feet hit the ground.  If you’re trampoline is too tight, you might as well be jumping on concrete.  The same principle applies for strings and their heights in relationship to their pitch.

As you go from your highest to lowest string, you will encounter increasingly thicker strings, with decreasing tension, respectively.  Additionally, the wave length of the vibrating string is increasingly larger, string by string.  So, more room needs to be allowed for the larger diameter, lower tension, and larger wave length.  So, on my fiddle and any professional violinists instrument, you will see a gradual increase in bridge height as the strings get lower in pitch.

This gradual compensation is also critical to the consistency in the feel of the instrument across the board.  The biggest issue with flattening the bridge is that the two middle strings, the A and D, sit much lower than they should.  The result is not only a difference in the feel and overall response of the instrument, but the wear on the fingerboard itself can result in frequent, costly trips to the luthier to have the fingerboard planed.  There are other issues that accompany such alterations but they are slower to present themselves.  Ultimately, you can see that I personally feel that it’s a bad idea.

So, the big answer to the big question is this;

The difference between the violin and the fiddle is nothing when it comes to the instrument itself.  They are one in the same.  The word “Fiddle,” implies that the style of music being played on the “violin,” has its roots in some sort of ethnic or folk music.  It could be Swedish, Irish, Scottish, Country, Jazz, Bluegrass, Appalachian, or any other stye that is not rooted in what is generally referred to as “classical,” music, or it’s categorical derivatives.

More information about fiddling can be found in my book, “Fiddling, The Basics and Beyond.”

The Finger Tape Debate

By: Patrick Clark

As I walk into a classroom, private lesson, or master class, I’m analyzing, thinking, and planning.  Each clinic I do, each lesson I teach, and each student I encounter, all present their own challenges.   One of the things I notice is the variety of teachers, especially in the classroom, that use/don’t use finger tapes on their beginning students.  There seems to be a large debate regarding finger tapes amongst the teaching community, so I thought I would chime in a bit.

First, let’s talk about the private teaching sector, then move onto the group/classroom teaching sector.  There are three general situations that I deal with when teaching privately.  They are as follows;

1. Beginner Student (Never Played Before)

2. Transfer Student (Has taken lessons, but decided to try me, or has been referred to me.)

3.  Self-Taught/Group Taught Only

With complete beginners, both fiddle and classical, I’ve been starting with finger tapes for the first three fingers.  My students do very well with this.  Their pitch, because I hound them, usually is very solid.  I then begin to take away the finger tapes, one at a time, starting with the third finger tape.  My philosophy with this take away process is that they establish the FEELING of the distance between their second and third finger.

I recently attended a workshop put on by Barbara Barber, and her suggestion was to never put on a second finger tape.  She suggested only first and third.  Again, the feeling aspect is still there but in a way, she’s saving a step in the process.  A short cut, if you will.  My only caveat is that the smallest, 3-4 year olds, may not have an ear that is developed enough to grapple with the idea.  Another concern with this age group is that there is so much to pay attention to in the beginning, that the lack of at least some finger tapes could result in a frustrated, overwhelmed, and ultimately discouraged student.  I believe there is some security, at least in the beginning, of knowing where the fingers should go.  Over time, we develop the ear and wean the student off the tape.  Thus, solidifying muscle memory.  I will be experimenting with this in the future and I will let you all know what I come up with.

For the last two items on my list above, the decision to add or take away finger tapes is completely subjective to the age, level, and maturity of the individual student.  So, let’s touch on the transfer students.  Many, definitely not all, but many, students that I see in the transfer stage have left hands that are so out of place, they struggle to play well.  I spend a large amount of time fixing this.  In this instance, there is so much work going on to change muscle memory, I put all three, or even sometimes four, finger tapes on.  I do this because the correction of the muscle memory can be so difficult at first, making them hunt for the note without finger tapes, might send them over the edge, and I would lose them.  The last thing any music teacher wants is for a student to quit.

Finally, in regards to the classroom.  I really believe that by the time a student is in an orchestra situation, they are old enough to do SOME self analysis.  Therefore, the use of a first and third finger tape ONLY, could be suggested.  This is only my opinion.  I have seen classroom teachers for beginner level, middle school orchestras use no finger tapes.  I would be very nervous about doing that.  I’m not saying it’s wrong, I just don’t think I would be comfortable doing that.  I would love to know what some of the teachers out there think about this.

Additionally, in regards to Learn Fiddle Online, put on all four!  Unless you are taking private lessons, there’s no way I can reach out and touch you and remind you of everything while you play along with the video. Eventually, you can begin to slowly take one tape away at a time, as you get comfortable with the instrument.  I will say that you shouldn’t leave the tape on terribly long because you may stop listening as closely as you should.

For instructions for installing finger tapes, take a look at my book, “Fiddling, The Basics and Beyond.”

I would love to hear what your experiences have been with this at any level, or in any situation.  So, please, let me know what you think posting on our Facebook page.



This is a thread that you can ask questions about what kind of gear I, or anybody else uses. You can talk about what you use and tell us why you think it’s great. Maybe it’s a new product out on the market that you want to let us all know about. Please, enlighten us!

I am going to talk about my new violin. I’m working on purchasing a Frederich Wyss from Eastman Music Company. I currently work for them as a violin sales associate and I found a wonderful violin that I think I am going to buy./ I’d been practicing on it, trying it out and I left the boxwood shoulder rest on there, incase I didn’t like the violin after a few days. Well, I decided I did and switched over to a my old

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chin rest, a Wittner. What a HUGE difference this made.

Would you believe that after only a few hours, I had already re-trained my muscles to work improperly. This was crazy! I really like the Wittner because it forces your head up not down. Plus, I’m not allergic to it. Tell me about your chin rest and why you like, or don’t like it.

Finally Open

Hey everyone! I hope you are all doing well! We are finally completely open for business! The videos are being added regularly so keep yourself in touch by checking in. We are going to add a couple more things to the site over the coming weeks. First, there will be a new opening video that will walk you through signing up for the All Access membership. Second, there will be a newer, nicer welcome page for all of you when you sign in. Third, there will be a sample lesson posted on the site itself so that people, maybe you, can see what’s really happening here before you decide to pay. I am very excited about this

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and I hope you will be too! Please post any questions, comments, or anything else here on this blog post, or start your own! Thanks for your time and I look forward to chatting with you and teaching you soon!


Implementing Classical Technique in Fiddle Playing

I thought I would post about a practice session I just had. As of late, I haven’t had a lot of time to practice and I was worried about loosing chops. So, I started slow. I warmed up with an arpeggio

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instead of a scale. I did three octaves so that I would get a good amount of elbow

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movement in both arms. I focused on smooth bow transitions and all the proper things you are supposed to pay attention to. Within 20 minutes, I was humming right along. Then, I practiced a fiddle tune I had learned incorrectly a long time ago. To my surprise, that muscle memory was still there.

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After years, it was still there! I couldn’t believe it.

So, how did I solve the problem? I played a classical piece that I had learned correctly and analyzed what I was doing wrong. It turns out, that I lost my focus when I played the fiddle tune. I started thinking about other rings besides the notes I was playing. Consequently, my index finger on my right hand started to hurt a bit. I realized that I had practiced this

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tune this way a long time ago and when I played it, I went to a different head space. So, I practiced the fiddle tune as if I was learning it all over again. This included a metronome, and focus. and playing it with all the classical technique I teach my students.

What’s my point? My point is, that if you learn a tune by playing it too fast or by not focusing on it the entire time, you will forever play it incorrectly. That is unless you decide to do what I did and relearn the tune. The problem with this is that if you have to relearn the tune, why didn’t you just learn it right to begin with.

The focus that comes with classical playing is critical to your fiddling!

Welcome to Learn Fiddle Online!!

Hey there! I’m Patrick Clark. Welcome to I’m glad

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Level! The book has just been released to the public. Also, be sure to check in as much as possible because the videos that teach the book will be up soon. I can’t wait to see what you have to say! Thanks for visiting!