Marilynn Mair

Shifting

Music for this workshop

In the last issue we introduced the concept of playing in positions and used an exercise that stayed in third position from beginning to end. Now we're going to expand your concept of playing up the neck to include the first five positions and the concept of shifting between them.

It's a big leap from the difficulty level of the last exercise to this one, so if you have never played in positions before you may need some intermediary work. Here's a basic overview of positions on the mandolin.

Position numbers do not indicate the fret to be played by the first finger, they indicate the note to be played by the first finger. "First position" is the one you already play in. If you put all four fingers down in their usual places on any string in first position, you have just given yourself the markers for the next three positions.

For "second position," simply place your first finger on the fret currently occupied by your second finger (fret three or four) and you are there. For "third position," the one we studied last issue, place your first finger on the fret occupied by your third finger (the fifth fret for all strings) and play up from there. Likewise, for "fourth position," you'll begin with your first finger on the seventh fret, the fret occupied by your fourth finger in first position.

The Andante Sostenuto from the Branzoli method that I use to illustrate this article, goes briefly up to "fifth position," where you place your first finger on the eigth or ninth fret, the fret you would use to play the fifth named note on each string.

You'll notice, looking at measure 29 where this happens, that the fingering of the notes is the same in fifth position as it is in first position, with the big difference that the third-finger A-note is played on the twelfth fret of the A-string in fifth position (not the fifth fret of the E-string as it is in first position), and the first-finger F-note is played on the eighth fret of the A-string.

Shifting between positions is an art in itself, and requires a lot of practice to do well. The frets are closer together as you move higher up the neck, so each position requires a different left-hand finger relationship and sifting up to succeeding positions requires that you move a slightly smaller distance each time.

You need to train your left hand until it "learns" these distances and automatically adjusts your finger placement so that you can play cleanly in each position. This will take time, so don't be frustrated if you have trouble at first.

When you shift, it is important that you maintain finger contact with the neck at all times. If you don't, and just try to miraculously jump up to the next position, you'll have to look at the fingerboard to succeed. This may be okay at first, but as you continue to develop as a player you may need to shift more frequently and it will not always be possible or expedient to watch your left hand each time you shift.

Shift always with the first finger, no matter what finger you are using after the shift. Using your first finger as a "guide finger." You'll train it to recognize the distance between positions which will enable you to develop better accuracy in shifting. This is much more easily demonstrated in person than described in writing, but for those of you without a teacher I'll try, using the Andante Sostenuto as our example.

In measure five, you're shifting from first to second position. After you play the F-note with your first finger in first position, release your finger tension but keep contact with the string and slide your first finger up to a G-note; as you put your second finger down to play the A-note.

Shifting up to any other position also uses the same technique, no matter what finger you're playing with before or after the shift. That way you are standardizing your shifting, and your hand only has to learn one shift for each position (instead of a different shift for each possible finger combination in each position).

Shifting down you use a reversal of the technique. For instance, in measure 19, you are shifting down from third position to first position. As you play the B-note with your second finger in third position, you should already have your first finger in contact with the A-note, as it's your guide finger. Slide the first finger down to first position, and play the F-sharp-note that follows in the piece.

For the Andante Sostenuto I've given you fingerings and marked the first time you play in each position. Be sure that you remain in each position you shift to until the fingering given indicates that you should shift to another position. That's how you?ll begin to develop familiarity with each position, and lose your "fear of flying."

Position work can be difficult and frustrating when you first try it; but don't give up. It will soon become second nature --as all of the techniques that you have worked hard to master do-- and before you know it you will be playing comfortably anywhere on the neck and devising your own shifts for pieces you play to best present them with your improved musicianship.

So, consider this a big adventure, not a difficult chore, and enjoy your forays up the fingerboard. Happy flying!

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