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Higher Positions for Lower Register
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Rx for the 1-3 PS (First-Third Position
Syndrome)
By Dr. Charles Heiden
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May 16, 2010
High d3 (on the E string, in
3rd position, 4th finger) typically is the
goal that launches a violin student's first
venture beyond 1st position. After that --
with the the upward range of the violin
extended to the limit espoused by Corelli,
and every other pitch available in first
position -- the disease of "First-Third
Position Syndrome" sets in. Why pursue 3rd
position down to small c (middle c) ? 1st
position is so much easier! (at least
initially). And 2nd position? Why, indeed?
It yields no new territory. Soon the
First-Third Position Syndrome becomes
chronic, perhaps for life, complicated and
reinforced by our edited solos and etude
collections that ingrain the violin
technique of yesteryear.
Early in their study, violin
students need to ascend and descend
stepwise, playing a given passage in
adjacent positions (1st and 2nd, or 3rd and
2nd) -- to assess the facility of each
solution, yes -- but more importantly to
learn to evaluate expressive factors. And
students need to PLAN a shift.: "The finger
that is down...to what pitch does it need to
slide in order to put the new finger in
range for the new note?" is the question
students need to learn to formulate. Models
are needed for routined practicing of the
TWO intervals in most shifts -- the
portamento, and then the distance to the new
finger. Standardized models extracted from
their repertoire piece will remind the
student, "Not only for this piece, but
henceforth for every similar passage -- these
are the reasons for practicing."
Example 1 is a simple waltz
melody on the lower strings (A,D, and G)
using only the pitches of the major
tetrachord mounted from the open strings.
First position is quite feasible, but at the
junctures marked by asterisks, the open
strings create a shortcoming. Vibrato is
inhibited, but more importantly, especially
at measures 3 - 4, the "break" in timbre --
bright open-A changing abruptly to the more
subdued sound of the stopped D-string -- is
defective. Each string has its special
color, our teaching needs to say -- but here
the melody requires continuity of timbre
[it's a good word -- our students need words
for new concepts!]
Example 2 supplies
fingerings to remedy the shortcomings above.
Abrupt changes of timbre are smoothed out by
shifting first to second position, then to
third, and back again. The changes of
position are elucidated with small notes
that show the portamentos in each shift.
These slides must be silent. It is helpful
at first to require the student to "freeze,"
then silently produce the portamento, then
the new articulating finger, then proceed
with the bow, resuming the rhythm. This
method of practice aims to sort out and
properly separate the brain's commands to
right and left hands.
The arrow in ex.2 points to
a consideration that should occur with every
portamento. Here it is a matter of choosing
whether 1st finger should slide to C-natural
or C-sharp. Sometimes it makes little
difference. But here there are two reasons
for the choice: the sharped C corresponds
with the harmonic context, AND it sets the
hand for what follows.
____________________________________________________________________________
1. The melody is quoted from "Kylie's Waltz:
A Cantilena (2'29'") with optional
elementary violin part, first movement of
Two Lyrical Pieces, for string orchestra
(grade 5) by Charles Heiden, Heiden Music
Publications. There is also a chamber music
version of the waltz with flexible scoring
for two violins, cello ad lib., and piano ad
lib.
Continued Below
The mapping of intervals
onto the geography of the fingerboard is
critical. Ex. 2 compares the sequence
repetition, measures 1-2 and 5-6. The M2
(Major 2nd) and M6 (Major 6th) at 1-2 are
congruent [ ] -- fingers far apart. At 5-6,
the m2 (minor 2nd) and m6 (minor 6th) are
congruent -- fingers close.
Examples 2 and 3 define
models for practicing the two intervals
involved in most shifts. The display is
based on the first shift in ex. 2, mm. 2-3.
First play the portamento
model in 1st position, to solidify and
refine the intonation, and location of the
stops. Then play the portamento as
indicated. The focus here is on planning the
shift; the mechanics of shifting lie beyond
this study. But beware! With small shifts, a
student is tempted to "cheat" by simply
scooting the finger back and forth. It needs
to be emphasized -- this is a shift of the
whole hand, forearm, etc.
The triple aspect of the
models is important. The repeat reverses not
only the bow direction, but also the
relations-in-motion of the two hands. Also
significant is the slurring: the purpose is
to differentiate the roles played by right
and left hands. If the bow change and left
hand actions coincide, then the brain's
commands will more likely be confused and
misdirected.
Example 3 treats the other
interval in a shift, the interval defined
when the new finger falls on the new
pitch-stop. At mm. 2-3, this interval is the
descending M3. Since the model contains both
ascending and descending motion, in both bow
directions, one can conventionally start the
model with the ascending interval, if the
left hand fingers are taught to operate
independently of the bow arm, as shown in
the second version of the model.
This Rx for the 1-3 PS
(First-Third Position Syndrome} teaches the
use of adjacent higher positions for low
register passages, but "taken as prescribed"
the medicine has another salutory result. It
vastly improves first position performance
as the player learns to think less and less
in terms of pitches as cardinal points of
destination, and more and more conceives of
melodic movement in ordinal terms: up or
down? precisely how far?
Charles Heiden, May 16,
2010
Salem Oregon
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