Somewhere along the line something about the relationship of notes, the fingerboard, notes on the staff has become confused. I have a feeling that there is something very fundamentally wrong here that has just reached the light of day for you, Brian.For the flats, you memorize F major, then for the others, the name of the key is the second-to-last flat. I'll just tell you and you can look for the pattern.ĭue to my own weird logic, I memorized the sharp keys by noting that they follow the strings (a circle of fifths). Naming the key caused by those flats and sharps is another matter. So, if you have two sharps, those sharps would be "F" and "C." Starting with the key of C major finger pattern, you would raise all the F's and the C's a half-step to make them sharp. Then you can tell which fingers are "high" or "low" when flats or sharps are added by memorizing the order in which they are added. (For example, the first pattern you may have learned on the violin, with a high one, high two, three next to the two and a high four.)Ĭ major has: a low 1 on the E, a high 2 on G but low 2 everywhere else, "normal" 3s and 4s. There is no key in which the violin fingers on each string all go in the same place.
You can start by knowing C major, the key with no sharps or flats. It helps to also know why the finger patterns are what they are, logically. They have finger patterns written for each key signature. You might benefit from getting these very simple books: "Elementary Scales and Bowings" and "Intermediate Scales and Bowings" by Harvey Whistler and Herman Hummel.
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