Chords for How to Fake in Orchestra

Hi, [F] welcome back to another video _ on TwoSet.
_ _ [Ab] _ _ _ _ [E] _
_ _ _ [B] _ _ [A] Today we will be teaching you the art [E] and science behind faking.
Now, [Ebm] we don't [Db] recommend or [A] encourage [E] this, like_
We don't [Gb] encourage this behavior.
[Eb] But, [B] for whatever reason, [E] if you find [A] yourself in a situation,
maybe it's a [B] rehearsal or the [Eb] concert,
and you [B] don't know the notes, [E] well_
These [A] tips which you have learnt [E] the hard way,
may [Dbm] just save your [Gbm] life.
This is what politicians do.
[Ab] _ _ _ But you know, this video only [B] applies to string players,
[Gb] especially [B] in the tutti [Bm] section.
[F] Not so much brass, wind, or piano [Ab] players,
because they're usually one part, and you can't fake [B] it.
But you can always refer back to this [Gb] video
when life gets [B] tough in rehearsals,
or when you just don't have time to practice.
But [B] you should be practicing, because_ _
[E] 40 hours.
Now, having said all of [Abm] that,
here are the 5 steps [Db] to quality [B] faking,
to make sure [E] that no one will ever find out
[B] that you don't know how to play your part.
We've [E] ranked them in order of importance,
so if you're struggling to do [A] all 5,
make sure you just [E] get number 1 and 2 down,
and you will probably be fine.
So let's get right into [Dm] it.
Step 1, [C] bowing.
Most of the time, as a tutti string player,
you're [Dm] playing with like 8 to 16 [E] other players.
[G] _ So_
It actually [C] is okay if you play a wrong note,
because people won't be able to hear.
It's _
[Gb] _ okay to play a wrong note.
But, _ _ one dead giveaway,
for if you don't know [Am] what you're doing,
is you're playing with the wrong bowing.
So you don't want to be [D] doing a down bow
when everyone else is doing an [G] up bow.
You also want to [D] be wary of the position of your bow.
So if everyone's doing tremolo at the tip,
you don't want to be playing at the frog. _ _
Bonus [E] tip!
[D] This one's less obvious, _ but_
Also pay attention to like, string crossings.
So, if [Ab] everyone's high up on the E string,
you don't want to be [Db] on the G string.
So [Gm] rhythm, number 2.
[Db] You can play wrong notes.
[F] _
_ [E] _ But you can't play out of time.
Because even_
Because if you play a right note out of time,
you're still wrong.
Rhythm is more important than_ Yeah.
Like, [A] pitch.
Yeah, much more.
And it's usually very, [Dm] very obvious.
People [A] will see that you're out of time.
[G] So just [Ab] count!
Alright, so [Dm] step 3 is when we start [E] going to the _ advanced_
[G]
Faking [Bbm] skills.
[Em] So there's actually two types of [D] faking.
You can either hover [A] the bow over the string,
[D] or you can actually play on the string.
[E] _ _ [D] So_
Hover, yeah, like the hover hand.
The problem with hovering is,
it's very tiring.
You're holding the bow above the string.
[A] And because you're having to hold [Dm] it up,
_ [Gm] it's actually_
If people look [Ab] carefully,
they can tell that you're not playing [Dm] on the string.
[E] They can tell [A] just with the way you [Dm] hold the bow.
_ So I think hovering [Gm] is very good
when it's a [F] very soft section.
So any [Db] wrong note or [D] sound is obvious.
Then go for [Eb] the hovering appeal.
[Db] Now, if the [Gm] tutti is actually playing [Gb] something
that's forte [F] or fortissimo,
[Gm] [E] it's much more [Eb] recommended that you [Db] actually
play on the string.
[Bm] Now the tip here [G]
is to_
[Dm] Play enough so that it looks like you're playing,
the weight.
But just enough that people next to you
can't actually hear you playing the wrong [F] notes.
Yeah.
So [A] know when to hover and know when to play.
That's what happens when you don't practice
40 hours a day, you get tortured.
The [B] fourth one is shift and move your [Dm] fingers.
_ [E] You're faking it, but you gotta look [A] like you're faking it.
[Dm] So you gotta practice looking like you're faking it.
If everyone's moving their [Em] fingers very fast,
[A] and your fingers are just in one position,
[Dm] so not moving up and down,
[F] that's a stupid move.
Alright?
And also make [Am] sure you're on the right string.
If everyone's playing [F] on E string,
[E] don't put your fingers on the G string.
[Em] The best example is Harry Potter's opening for violin.
_ _ [B] _
_ [E] _ _ _ _ _ _ _
_ Lastly, [A] be confident. _
[D] If you're playing the right notes,
but you look like you're faking,
people think you're faking.
[Bb] On the [D] other hand,
if you just _ smile_
You can [Bb] even get onto [A] BBC News
and play Flight of the Bumblebee,
and half the world will still not realize
that you're not playing a single right note. _
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ _
_ _ _ _ _ Nope, [Dm] this video is for him.
Oh, well, [A] oh, he made a brutal mistake.
You [D] can't fake if you're playing the solo.
[G] Yeah!
That only works in [F] orchestra!
Step one!
Step two!
[E] You failed the first two [G] steps!
_ _ Well, there [D] you guys have it.
The five steps to quality faking.
[Gm] That means now, as long as you pass your orchestral audition,
you [D] basically get to keep your job [Bm] forever
without playing any fudge.
[D] Just a disclaimer, we don't encourage this type of act—
type of act.
Behavior.
_ [G]
You should practice your part.
Just do 40 hours!
Pull your own weight.
[Bb] Purple for lazy!
[E] Let me say [Gm] something, man. _
_ [A] _ _ _ _ [Dm] _ _ _