Shifting Techniques Part 8

by Steve Maus

Sometimes we have to play differently than we are accustomed to, concerning our shifts as we talked about previously. That happens occasionally when we look at pieces from the Romantic period.
Sometimes we come across things like this:

Sarasate.jpg

This is measure 13 from Sarasate’s Gypsy Airs.
The “II” and the “III” beneath the notes indicate the string for which the fingering applies. “I” means E-string, “IV” means G-string.
Obviously we have to shift into the fifth position on the A-string, followed by a shift down into the third position.
Why this? And what does the line between the first two notes mean?

The line shows us a glissando. We are supposed to play an audible shift. If we don’t hear it something goes wrong.
How do we perform the sift?
That’s pretty easy. We are in the first position anyway. We put our target finger (2) on the “c” on the A-string and slide upwards directly to the “g” as shown above. Usually we would have to shift on our last played finger (1) upwards, but in this case the glissando is intended, so we take the second finger.
Why the second and not the fourth finger?
Well, a glissando is a very special sound effect. It has to be very clear that it is performed on purpose and not accidentally. “The longer the better”.
Starting from the fourth finger “e-flat” to “g” gives us an interval of a third. Going up from the second finger “c” to “g” results in a fifth, much longer, much better. Additionally, the second finger is stronger, making it easier to shift.

In the group of sixteenth notes we have somthing similar. To be played on the D-string we shift on the third finger “b” up to “d”. Of course, we could play those notes in the fourth position. That would leave us without glissando. Sliding on the third finger upwards gives us a glissando automatically, the only reason for this shift. Otherwise it would be senseless.

Try it out! You will get amazing sound effects. But remember – glissando is something that started in the early Romantic actually. Don’t try this with Bach, Vivaldi or Telemann. It would sound dreadful.

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