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SHIFTING LINK

TABLE OF CONTENTS

BASIC CONCEPTS OF SHIFTING

PEDAGOGY OF SHIFTING

BASIC CONCEPTS OF SHIFTING

Introduction

Shifting, the transportation system of the left hand, is the journey that the hand travels to get from one note to the next on the fingerboard. A clear understanding of the infrastructure and mechanics of shifting will help secure the accuracy of intonation and the musical intentions. Shifting can be compared to driving a car along a prescribed route. If the driver knows the road and the road is clear, the car and its passengers will arrive safely and on time

The Iceberg Principle

It is often difficult for a student to visualize how the left arm functions in shifts because it is not seen by the student. It is helpful to picture the tips of the fingers like the tips of icebergs. The majority of an iceberg is under the water with the tip peeping out above the surface of the water. If an iceberg is seen moving, one can assume that it moves from its base. The same goes for the left hand fingers. They move only when the arm to which they are attached (in this case, the left) moves. The fingers and hand should not move independently of the arm. Note the flexibility of the left arm. The forearm can move back and forth from the elbow joint; the ball and socket joint gives the whole arm the ability to swing freely.

Two Types of Shifts

There are two types of shifts: Shifts that we DONOT HEAR and shifts that we HEAR.

ANTICIPATED SHIFTS (THOSE SILENT SHIFTS)

DELAYED SHIFTS (EXPRESSIVE SHIFTS)

The anticipated shift is a shift that is executed on the old beat, shifting with the old finger, and shifting on the old bow if there is a bow change. The new note is timed to be played on the new beat and new bow if there is a bow change. If the shift is done within a slur, the shift is executed on the old beat, old finger, and timed to arrive on the new note on the new beat.

The delayed shift is the expressive shift. This shift is executed by shifting partially or wholly on the new beat and new bow which allows the shift to be heard. There are infinite varieties of delayed shifts depending on the musical context.

Video
Clip Title:

Anticipated and Delayed Shifts

Description:
An explanation of silent and expressive shifts
Channel:
243
Duration:
2'18"

Shifting beautifully is a matter of timing the finger and bow to achieve the desired effect.

IMPORTANT

No matter how fast the passage, the shift is generally executed at the same speed as the bow. (The bow normally moves at a slow pace. Take a long whole note played over the whole bow. If you want to play twice as fast, use half the bow. If you want to play twice as fast again, use half of this bow. This continues until you are playing 16th notes, but notice that the speed of the bow has not changed. It is still a slow bow speed.) Timing is everything.

Video
Clip Title:

Speed of Bow Exercise

Description:

Playing increasingly faster notes with the same bow speed

Channel:
234
Duration:
1'27"

Shifting Shorthand

There are two ways to arrive in a new position: Shifting and Extension.

It is helpful to mark exactly how the shift is to be executed in the student's music until the student is able to figure this out for themselves. On the note of the shift, use the following code:

S for shift and X for extension

For example: "SV3": S=shift, V=on the up bow, 3= on the third finger. This way the student knows exactly how and where to shift. 

Extensions

There are two ways to extend: up and back. Extending back is the easier of the two.

In an extension from fourth finger to first, place the fourth finger comfortably in its position, then extend back to first by keeping the wrist in. It is also possible to slide up on the "Magic X" while keeping the old finger down until you are in the new position, then place the fourth finger down. This gives the effect of extending back even though you are not lifting the finger off the string. When playing fingered octaves keep the hand position closer to the top finger extending the bottom finger back.

Video
Clip Title:

Extensions: Reaching Back and
Reaching Forward

Description:

Extending up with the 4th finger and back with the 1st finger, finding left hand balance with Schradieck

Channel:

206

Duration:
1'38"

 

PEDAGOGY OF SHIFTING

Pre-Shifting Motions

Note: Many of the following exercises came directly from Rolland’s pedagogy and videos. The exercises have been modified and adapted over the years.

Embryonic shifting motions are taught from the beginning. The first preparatory shifting exercise begins at the first lesson when the student slides back and forth on the “Magic X” along the violin neck. However, the actual process of learning to shift is not begun until Suzuki Book II. At this point, the student is given many preparatory exercises to assist in comfortably moving the left hand up and down the fingerboard. Humoresque is the first piece where the student encounters shifting. Upon playing the first movement of the Vivaldi A Minor Concerto or Kuchler D Major Concertino (whichever comes first), the student begins Whistler's Introducing The Positions, Book 1 as well as the Carl Flesch Three Octave Scale System.

Preparatory Exercises

Long Silent Shifts: Slide one finger at a time up the fingerboard without pressing down the string, touch the nose, and then slide back to first position. Make sure that the left elbow comes under the violin for the upward shift and then gradually returns to its usual placement upon returning to first position. This exercise also encourages the student to release the left hand thumb as the hand moves above fifth position. (The left thumb will balance itself lightly on the right side of the fingerboard.)

Video
Clip Title:

SHIFTING: Long Silent Shifts

Description:

Fingers gliding lightly on the string up and down the fingerboard

Channel:

235

Duration:
1'41"

Matching Harmonics: Begin by playing the natural harmonic under the third finger in first position with four long slow whole bows. Slide the finger up to the matching harmonic, and then slide back to first position. Along the way the student can also stop at the octave harmonic in fifth position that divides the string length into halves. As the student becomes more advanced, practice matching the harmonic under the fourth finger as well as the one under the second finger. (See Harmonic Link)

Again, check to make sure that the elbow comes under the violin when the shift is made to the higher positions, then returns to the original placement as the hand returns to first position.

Matching Harmonics

Video
Clip Title:

Matching Harmonics

Description:

A preliminary shifting exercise

Channel:

239

Duration:
1'38"

Fingerboard Promenade: Taps and Swings

Taps: Tap all the fingers together up the fingerboard and back down.

Swings: Strum all four strings from G to E over the high dot with the left pinky using a swinging motion in the left elbow. This develops a mobile left elbow.

Video
Clip Title:

Fingerboard Promenade: Taps and Swings

Description:

A preliminary shifting exercise helping to keep free motions

Channel:

245

Duration:
1'17"

Pinky Plucks: With the pinky, pluck the G and D strings in first position, then slide up to high dot and pluck the A and E strings.

Video
Clip Title:

Slide and Pluck

Description:
Preliminary shifting exercise moving up and down the fingerboard
Channel:

236

Duration:
1'23"

Play, Pluck, and Shift Up the Scale with Clair de Lune: Play Clair de Lune on each degree of a scale. Play the tune, and then use the left pinky to pluck the old first finger note, shift up a scale degree and pluck the new first finger note with the pinky. Play the tune. Repeat procedure up the scale. On the E string use the F major scale.

Au Claire de Lune

Video
Clip Title:

Play, Pluck, and Shift Up the Scale

Description:

Preliminary shifting exercise moving up the string playing Au Claire de Lune 

Channel:

237

Duration:
2'02"

Slide and Pluck: Play a high dot harmonic (middle of the string) with 4th finger. Match the note on the higher string with 1st, 2nd, and 3rd finger.

Video
Clip Title:

Matching Notes String to String

Description:

Playing harmonics and matching the pitch on the higher string with the other fingers

Channel:

238

Duration:
1'13"

Point - Shift - Set
If a beginning (or any other level for that matter) student is having a problem visualizing and feeling the geography of the fingerboard when shifting, the Point-Shift-Set exercise will help to set the hand spatially on the fingerboard. Point to the old finger with the right index finger, Shift to the new position while pointing to the old finger, Set the new finger on the correct note and play. The student must say Point Shift Set while doing the exercise. The student can then say "Pointy-wointy, shifty-wifty, setty-wetty" while shifting to make the process more interesting. Sounds silly, but younger students enjoy this exercise.

Video
Clip Title:

Point-Shift-Set

Description:

Feeling the transporting of the finger on the string while shifting

Channel:

240

Duration:
1'08"

Whistler, Introducing the Positions
Begin Whistler when the student reaches the Vivaldi A Minor Concerto.
Whistler has designed his shifting exercises using the principles of anticipated shifts.

Video
Clip Title:

Early Shifts - Whistler

Description:

Learning to shift with Whistler’s Introducing the Positions

Channel:

241

Duration:
3'35"

 

Stage One Shifting Exercises

One Finger Scales:
Shift through the scales always returning to tonic, i.e.: first finger on A string using the B major scale—bc#,bd,be,bf#,bg#,ba#,bb--. This exercise can be played with every finger on all strings.

One Finger Scales

Video
Clip Title:

SHIFTING: One Finger Scales

Description:

Scales using one finger on one string with an awareness of the lightness of the shift and the timing of the shift

Channel:

242

Duration:
2'58"

Checkpoints:

REMEMBER

DIFFICULTIES IN SHIFTING OCCUR BETWEEN TWO NOTES.
ISOLATE THE NOTE BEFORE THE SHIFT AND THE NOTE OF THE SHIFT.
PRACTICE THE JOURNEY.

Stage Two Shifting Exercises

Scales on one string as in the above exercise -- this time use different combinations of fingers. (i.e.: 3-1, 3-2, 3-4, 2-1, 2-3, 2-4, 1-3, etc.)

Combination of Finger Scales

Begin Sevcik Op. 8 along with Kreutzer.

Sevcik Shifting Op. 8 contains virtually all combinations of shifts. Add Sevcik Op. 8 to your practice routine in Stage Two. There are two shifting rules for practicing these etudes:

How to Practice Sevcik

A Suggestion for Traveling through the Keys in Sevcik

Video
Clip Title:

Anticipated Shifts: Sevcik Op.8 #1,2

Description:
Practicing Op.8 using anticipated (silent) shifts
Channel:
244
Duration:
5'05"

 

Stages Three through Five: Shifting Forevermore

Continue working through Sevcik, Op. 8 as established in the previous stages.

If needed after Op. 8 is digested, The Artistry of Violin Playing by Dounis can be very helpful for expanding the shifting vocabulary particularly with long shifts.

Shifting practice is omnipresent in repertoire and etudes. Isolate the shifts and give them infinite care and innumerable repetitions. Repetition is necessary but is never mindless. Maintaining awareness of the journey, the path of the finger over the fingerboard, as well as the arrival, increases the confidence and security necessary for beautiful playing.

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