In Part 6 we looked upon our almost standard shift, sliding upwards on our last played finger. Obviously, as I already wrote here, there is an exception to this rule.
Today we’ll apply this in our Mendelssohn Concerto. For our example I chose the second movement, measures 31 and 32. I left the original fingering of the Oistrakh Edition:
We have to shift starting from the third position “b flat” to the fourth position “b”, followed by another shift from the second finger “c” to the first finger “d”. We should end up in the sixth position.
Following our basic rule slide on the last played finger we would have to shift on the second finger “b flat” to the fourth position. That’s the “c”, which is higher than our actual target “b”. The same would happen with the subsequent shift from the fourth into the sixth position.
That sounds horrible. Really.
What can we do?
Remember our exception: In this case we slide on our target finger:
We stay in the third position, using the first finger to slide upwards to the “b”. We land exactly where we want to be. Same happens with the next shift.
Again – the rhythm I showed here isn’t important. I just had to take something to clarify this sort of shift.
This slide should also be very soft and smooth. The result will be a shift that’s almost inaudible.
In the next post we’ll look at shifts you should hear. Sounds funny, but there are some…
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Shifting, Violin Lessons
