Overall, the most important factor in students learning to shift is the persistence of the teacher in working on this tech- nique and finding ways to keep it fresh and fun. More expressive shifting possi- bilities will be presented in a later article including portamento; shifting with the finger on the string; or shifting with the finger in the new position for different ef- fects. Perhaps with some suggested shift- ing practice techniques included as well.
References
1. Basic Principles of Violin Playing, Paul Rolland. Music Educators National Conference, 1959. P. 23.
2. Setting the Stage for Shifting, Loretta JW McNulty. Lecture given at the California All-State Music Education Conference, 23 February 2013. Loretta teaches in the Lafayette and Mt. Diablo school districts. Bay Section CMEA Outstanding Orchestra Director for 2013, she earned her Bachelor of Music Education and Master of Music from Indiana University.
Tom Tatton is a retired string specialist
with the Lincoln Unified School District in Stockton, California. His previous positions include Associate Professor of String Educa- tion, Music History, Violist in Residence and Director of Orchestras at both Whittier Col- lege and the University of the Pacific. His monograph on public school string teaching, “Connecting the Dots,” was published in 2003. He is currently active as a clinician and adjudicator as well as making appear- ances at school in-service training conferenc- es. He is also the previous CMEA Orchestra Representative. E-mail him at ttatton43@
gmail.com
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