All shifting articles
-
FocusHow to make scales enjoyable
Encouraging students to practise scales needn't be an uphill struggle, says Paul Harris - in fact, it can even be fun!
-
ArticleVictoria Chiang demonstrates shifting exercises for viola
'You have to be able to move freely without your shoulder getting in the way' Peabody Institute of Music viola professor Victoria Chiang helps a student with shifting exercises during a National Philharmonic Masterclass in 2013. Explore more Technique like this in The Strad Playing Hub
-
Focus6 ways to improve shifting for string players
Advice on how to shift smoothly and cleanly from The Strad archives
-
FeatureHow to shift correctly on the violin
What tips do the great pedagogues and players offer for getting around the instrument? Rok Klopčič looks at a fundamental aspect of playing: change of position. From August 2004
-
Focus8 ways to teach cello students how to shift confidently
Top teachers speak to Laurinel Owen about their methods in The Strad’s September 2001 issue
-
FocusThe art of the violin slide: Exploring shifts in different musical styles
Julie Lyonn Lieberman describes how different slides can enhance your string playing, from oozing your way in the true blues style to the Klezmer 'bend'
-
ArticleDouble bassist François Rabbath demonstrates his crab technique
In honour of François Rabbath, who turns 90 today, we are republishing content from our archive related to the French-Syrian double bassist
-
FocusHow to make the most of cello scales
Approach scales with commitment, imagination and daring, and they will inspire your cello playing, argues Mats Lidström
-
FeatureHow to shift smoothly and cleanly by cellist Jeffrey Solow
When it comes to shifting, the American cellist and Boyer College professor gets his inspiration from the physics of ball games in this 2007 article
-
Focus10 tips for improving your scales
Guidance from The Strad 's archive on tuning, bow control, shifting, direction and pulse
-
FocusWhat is the best scale system for string students?
The Strad's panel of teaching experts answer reader questions as part of the magazine's Teacher talk series
-
FocusAsk the Experts: playing violin in the second position
Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
-
BlogsIntermediary notes are unnecessary for shifting
One the great pedagogical minds of the 20th Century, Yuri Yankelevich (1909-1973) wrote an extremely detailed treatise on shifting that has now been published in English by Oxford University Press. Translator Masha Lankovsky takes a look at one of his conclusions
-
FocusScales and exercises are essential for all string players
Not all players regard exercises as important, but without a sound technical basis you cannot achieve your expressive potential, writes the cellist
-
ArticleThe Strad Technique: Michael Frischenschlager’s Violin Scale System Part 2
Michael Frischenschlager, professor emeritus at the University of Music and Performing Arts, Vienna, explains Part 2 of his two-octave violin scale and arpeggio system, as featured in The Strad's December 2015 issue. In this exercise the focus is on shifting - playing two-octave scales, arpeggios, dominant and diminished 7ths on ...
-
ArticleViolinist Christian Tetzlaff on whether or not to practise scales
Sometimes in a concert if you feel tense or unsure, you might want muscle memory and motor skills to take over for a while so you can remove yourself from the performance and calm down...' Violinist Christian Tetzlaff and neurologist Dr Steven Frucht talk about whether scales and technical exercises ...
-
FocusAsk the Experts: playing in cello thumb position
Strad readers submit their problems and queries about string playing, teaching or making to a panel of experts
-
BlogsCellist Lynn Harrell on the art of playing up high
The American musician tells Pauline Harding that many tuning problems stem from a lack of exposure to the upper registers
-
BlogsI never practise scales and studies from books, says violinist James Ehnes
The Strad’s November issue cover star on why pieces contain almost all the technical components necessary for practice