Comments

Greetings,
Karen, the last thing you need is a tape. Although I stand by what I said that you quoted (posisbly in a rage ;)) the3re is of course a lot more ot the business than this. Playing the viola/violin is a kinesthetic experience and that fatc has a great deal f significance in terms of finding notes. The posiiton of one note with one finger can also be understodd in relation to other fingers even if they are not placed in the final performance. So I would work at various ways of getting at the note through silent (or even initially played) notes at a lower interval. For example, you know where third position is reliably so pracitce different posisbilities in getting from there to the note itslef as though the note wa spreceded by a scale. Make these guide notes less and less salinet over time but let your hand absorb the snes of where they might be if oyu had ot play them. SEe if that helps you understand how the hand shoiuld feel when you play that top note.
Cheers,
Buri Karen,

As I'm getting up into those nether regions myself, I'm finding that making a mental note on how my hand & thumb are positioned as well as the finger pattern helps alot. I do this ever so slowly when inching up the fingerboard at first. For instance, play the low C, stop, reposition, play the high C, adjust if necessary to get the high C just right - then STAY there for awhile. Play a few notes up there, maybe a small melody or just random notes but holding the C the longest until you can hit it right on several times. Then do it all over again.

For me at least, this helps to ingrain that "muscle" and ear memory into my brain.

VIOLA — Shifting from open C to C-4 or 3 on A 2nd 8va:

Karen,

Try shifting from 3rd position to 6th position C-1 on the D-string. This will work as well from 1st or 2nd, etc. Also, if yo really want the 3 to be set in 7th position shift to D-1 on D. (Yes, the shifts should be practiced with the respective notes on the A-string as well, but in this setting the D-string is often far better.)

Do this as an audible slide. Upon arrival — make it a longer note initially — thoroughly practice the 8va interval with 4th finger (use a Hand Group setting appropriate to the passage and Key and/or the Beginning Hand Group — whole half whole (overall the best for 8vas). Additionally doing the shift with an 8va makes it even more secure and better in the long run.

Then an extension 3rd finger. Note the change of angle in every part of your hand and the outward (counter-clockwise) rotation of the left forearm and hand. Here you can also shift the 1 4-8va opening into the 1 3-8va.

Practice the choice of 3rd and 4th finger separately, including the shift, as there will be other very noticeable balance and flow adjustments from one shift to the other. Do not go back and forth between the fingerings — MASTER ONE FIRST.

With each (4/3) and after numerous shifts in varied rhythms to develop flow, agility and speed with TOTAL BALANCE, add Repetition Hits. This is where you stay in the 6th position and release the 4th or 3rd finger as the case may be, and smartly set/sting/hit it down squarely on the same note — do this with 2 short 8ths followed by a sustained quarter, repeating at least 5 sets in a row without wavering or faulting pitch. If the placement is wondering do not even leave the string — simply lighten and set/hit again gradually and eventually releasing the string totally. You can feel if the finger is sliding around on this one. DO NOT LIFT THE FINGER AT ALL! Simply release the finger — a relaxing of the finger from the knuckle. It will pop off the string and all you need do is maintain shape and balance.

Do not use vibrato in the above until the note is consistently achieved, but do have the sense of balance, posture and energy flow knowing that you can vibrate and maintain the focused pitch and tone.

Now note all the details of position and balance — where your left hand is, the thumb, wrist, forearm, upper-arm, shoulder, neck, head, et al. Everything is to be balance and proportioned as flawlessly as possible making sure you are shifting into this position — having maintained it enroute and not adjust after you arrive. That is too late.

After all of this release the hand with the start of the Open C immediately progressing through the Bishops' move to the position — you will be floating the hand barely above the string (just enough to clear the pawns' heads:-) —— I know it's against the rules, but this is viola/violin playing and all is fair… Upon every arrival do at least 5 accurate hits of the note reapplying Rep Hits as needed. Also, practice the 2 possible Knights' shift moves — up the C and over (not used in this specific section, but most useful) and over to the A-string and up. The Bishop will be the actual move, but the Knights help guide and focus.

This probably sounds a wee bit intense, but remember you are learning these moves for life and they will all be used. The greater the thoroughness up front, the greater the success down the road.

Have fun and
Hope this helps —
Drew

Author of
Violin Technique: The Manual, How to master…
Viola Technique: The Manual, How to master…

Everything affects everything.

Thanks Drew, what a detailed and helpful response!