The Minor Arpeggio Trick
Hi, I wanted to share a "trick" which I learned from one of the bass teachers in my school. For some of you, it might be obvious, but I wasn't aware of it despite having played the violin for over 10 years. To summarize the trick in a sentence: The distance between a minor third on the fingerboard is equal to the distance of a major third when shifting upwards by that same distance, followed by a perfect fourth, a fith and an octave.
You can find a more thorough explanation of the trick here:
This seems like a lot of extra brainwork to me. On the bass it makes some sense where shifting can be more naturally visual. But you shouldn't be staring at your fingers while shifting anyway so it is still necessary to memorize the feel and the sound of shifts.
I looked at the article. My impression is that the solution is more complicated than the problem,- like a grad. student desperately searching for an original thesis topic.
You got me!
Paul, apparently the tinnitus one involves a laser
It's certainly an interesting phenomenon!
A quick way to count cows is to count their legs and then divide by four.
Gordon I think it's the Pythagorean thing. I'd have to think (or read) about it more than I have time for at the moment, but it could be exact. In fact it might be too exact.
I’m happy to see the post creating some discussion. I’m not saying that this is a method you have to apply whenever you are shifting, I mostly wanted to point out the curious fact that the intervals in question are equidistant on the fingerboard. Like all theoretical knowledge, it is up to the practitioner to choose how or whether to apply it. Personally, I believe it has given me some additional awareness when performing certain shifts, especially in higher positions.
I am disappointed. I hoped from the title the thread would be about bowing (as in "Mendelssohn cadenza").
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