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Press the Finger Down Completely During Slides in Chromatic Scales?


tchaikovsgay
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On 2/22/2020 at 5:42 PM, PhilipKT said:

The assumption is incorrect. You shift according to the needs of the phrase. 

 

23 hours ago, uncle duke said:

1.  It would be helpful to know the next note after C6.  Unless that is the last note, unlikely but possible.  No whistling sounds allowed if you don't want to stop.

2.  At first I would stop both the B and the Bb.  Are you sure B is before Bb?

I've changed my question to a clearer one. I'm doing a presentation on bowings and fingerings for school and I've just figured out comfortable definitons of shifting, portamento and glissando; now I just need to figure out the details of slides in the same position.

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Every shift is a controlled slide. We control, with bow weight, how much of the slide the audience hears, but there will always be a slide, because that is how we connect notes to each other during a shift. If we did not slide, then there would be a break between positions, and of course we want a connection.

 Every shift has four elements:

Distance, time, mass, and movement.

The only thing that we can control is the movement, How we move within the available time.

With that in mind, I teach two kinds of shifts. One is the slide shift, where you slide to the destination note. The other one is the drop shift, where you shift on one finger to the position and then drop the playing finger on the note that you want. Each of these shifts is a slide, but the drop shift is perceived to be cleaner, because the audience does not hear the slide all the way to the destination note. They only hear the slide to the position. That way they hear the shift as connected and clean as well.

The terminology I  use is not universal, other teachers may use different ways to describe these shifts, and there are doubtless exceptions, but that’s the essence.

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