JAVS Summer 1998

38

Figure 7.

01-12-12-12-12-2 3 4 321-321-3 2 1-2 1 0

8. Shifting Exercises This particular exercise illustrates what I call a "swing shift." I have found that the main prob lem with shifting stems from a lack of knowing exactly when to shift, rather than where to shift. This leads to tension in the left hand, squeezing, and inaccuracy. Once you understand the timing of a shift, or how to prepare yourself physically and mentally for a shift, it will be smoother, lighter, and much more accurate. The term "swing" comes from the jazz technique of playing in triple-like flow by reiterating the previous note into the next: bop-a-dop-a-dop-a dop-a-clop, etc. I have my students reiterate the note they are shifting from on the bow change and then slur it into the note they are shifting to with a long slide in between the two notes, the reiterated note having a triplet or sixteenth-note value (like the following exercise). At first I do not discourage them from making a slurpy shift; I like them to get the feel of staying in contact with the string and understanding and memorizing the pathway from one note to the other kinesthetic memory. Adding the triplet or sixteenth-note value to the "swing" note gives the shift a spacial or time element, putting the shift into the context of a rhythmic value and thereby eliminating the seeming randomness of shift timing. Without fail I have never had a student who did not respond to this technique with overwhelming success (and enjoyment!).

GEOFFREY OVINGTON MAKER OF VIOLINS, VIOLAS AND CELLI Instruments of Distinction Played Internationally GEOFFREY 0VINGTON VIOLINS STANTON ROAD SHUSHAN, NY 12873 U.S.A. 518-854-3648

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