Shift No-no Numero Uno

Happy to report a predicted ice storm for our area never materialized. And today we’re enjoying as blue a sky as you’re likely to see east of the Mississippi.

I’m also pleased by the number of folks who’ve taken advantage of the ‘mini-course’ on breath control and position fundamentals. Matter of fact, there are only 7 remaining of the order placed with my engineer, and I don’t expect to make more anytime soon. If you’ve a thought to improve your lung-power and set your hand positions to right I’d jump over and place your order right now.

Yes, even before reading today’s very worthwhile newsletter. Here it is, for the Very-Berry last time. Dynamic Breath Control for Violinists

Now then, let’s say we call your left hand Paul, and your right hand Peter – just for a minute or two. Imagine, then, that Paul Is fingering along quite happily, just playing note after note in first position. No worries.

Meanwhile, Peter, a short distance away, is bowing back and forth equally peacefully and contentedly. Matter of fact he’s rolling over several of Paul’s pitches with each stroke.

Suddenly trouble appears on the horizon. It’s a nasty shift of a major 7th up the A string. Paul begins to perspire. Peter senses anxiety in the air and prepares for the worst.

The shift bears down relentlessly on the two. Paul feels his muscles coiling for a Herculean effort. Peter is uncertain what is going to happen next.

Suddenly Paul leaps through the air in a desperate bid to reach the far shore, and safety. The suddenness of his action causes Peter to lurch forward in sympathy – and the tranquil air is rent asunder by an ascending belch of tone.

Paul and Peter regain control quickly, mind you, and institute damage control measures. A veneer of composure emanates forth.

The end.

Guess I really identified two things,actually, the tensing of the left hand prior to the shift, and the sudden increase of bow speed during the shift.

It’s the latter point I really want to draw your attention to today. Many players I hear have been so long in the habit of allowing the two hands to mimic each other in this way that they no longer hear the ‘unsightly bulge’ of sound that results.

Even when one wants to hear the shift, it’s important to control the bow speed and pressure as you execute.

All the best,

Clayton Haslop

P.S. There are a few more little details that go into a successful shift. For those I would check out Volume 1 of Kreutzer for Violin Mastery.