![]() ![]() Notify Julie of any errors and we will fix asap. These can be freely copied for non-commercial use as long as the author's name and copyright information remains intact. Feel, don't jump.Below are some scales and a few pieces of music written by violin teachers for their students. The 1 can feel the distance that way then. That way, you no longer jump back (to an unknown territory with a finger that wasn't even on the string) but slide the 1 back (which becomes very easy of you program that shift 1 on A to 1 on E with easy, slow repetition). ![]() So if you are doing something high on your bass, in thumb position perhaps-and you are playing 3 2 1 on C B A then shifting to a 3 on G below that-you would shift to the 1 on E and then put your 3 down on G. Technical Shifting changed my life! Basically it is using the previous finger (if we think of the two notes of a shift, one before the shift and one after) to take you like a taxi to the location of the next hand position needed for the next note of the scale. I am not sure how you would finger the descending scale on your bass, but one general thing that I rely on is Technical Shifting. If it corresponds to an open string, it rings like crazy.ĭescending scales are much harder for everyone, so you're not alone there. A lot of times I can just feel how my cello is responding to the note. Then that checkpoint stays in my mind even if I am not exactly checking it with an open string any more. Doing this several times will usually help me find the note exactly-and will give me a good idea of the correct "feel" for the right pitch there. After making note of sharp- or flatness, according to the open string, I will approach the note again and attempt to go the opposite way (sharp if I was flat before and vice versa). I always try to "install" checkpoints in my work, where I stop and compare some corresponding note with an open string, just to make sure I am still on track. ![]()
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