2

RGP Shifting Method

Scale and arpeggio of G major

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Diagram 1

Finger chart 1

G D A E

1st Position

3rd Position

E B

G D

1 1

1 Sharp(F♯)

3rd Position

G D A E

1st Position

3rd PositionC G AD

D A BE

C

E B F♯

C G D

F♯

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Exercise 1: 1st-3rd Position shifting in G majorUse the Diagram 1 on the right to help you with seeing how far your

hand should shift to reach the 3rd position notes.

1st finger shifting with 1 sharp

Release the finger pressure from the stringGlide the whole hand (thumb included) along the neck/

fingerboard of the violin. The shifting finger will ‘ghost’ its way up the string as it lightly touches the string while shifting.

Press the finger down once it has arrived on the new note.

Shifting is when you move your whole left hand up or down the fingerboard in order to

change notes. In Book 1 every piece only used the 1st

position. In Book 2 you will learn how play in 2nd and 3rd position.

The RGP technique helps you to move between 1st, 2nd, and 3rd position.

Points for ParentsTips Teacher ChecklistPurpose Theory

3

• To practise shifting from 1st to 3rd position with the 1st finger, using the Release, Glide, and Press (RGP) technique as shown in Diagram 1.

• To learn the note names in 3rd position, remembering that there is an F#.

• To practise sight-reading in 1st and 3rd position.

• Listen carefully to the ‘ghost’ note when shifting (the sound the finger makes when lightly gliding between 1st and 3rd position) and only press down on the string when you can hear the correct pitch of the new note.

• Without using the bow, hold the violin and place the fingers on the fingerboard while saying the note names aloud in 3rd position. Finger Chart 1 can help you identify whether fingers are a tone or a semitone apart.

• Can shift using the RGP technique.

• Listens to the ‘ghost’ note while gliding the finger up or down the string.

• Student shifts using the whole hand, and the thumb always remains opposite the pointer finger.

• Poco rall . . . stands for poco rallentando which means gradually becoming a little slower.

• A dot preceding a note lengthens it by half of its value. i.e. a dotted minim lasts for a minim plus a crotchet (3 crotchet beats in total).

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Scale and Arpeggio of E melodic and harmonic minor

poco rall

6

1st finger shifting with 2 flats

Exercise 4: 1st - 3rd position shifting in B majorUse the finger chart and notice how your 1st finger will be shifting from

a lower position up to 3rd position.

Scale and arpeggio of B major

Scale and arpeggio of G harmonic minor

Diagram 2

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Finger chart 2

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La Festaiola has a B and an E , which means it could be in one of two keys. B major or its relative, G minor. When a piece is in a minor key, it often has a melancholy (sad) sound as opposed to pieces in a

major key, which sound more uplifting (happy). Does La Festaiola sound happy or sad?

Position

G D A E

1st Position

3rd PositionG

E♭

1

2 Flats(B♭ E♭)

3rd Position

G D A E

1st Position

3rd PositionC G AD

B♭E♭

D A

E♭ B♭ F C

F C G D

Points for Parents

7

TheoryTeacher ChecklistTipsPurpose• To practise shifting from 1st

to 3rd position using the 1st finger (see Diagram 2)

• To revise where the semitones occur in the key of B major in 1st and 3rd position.

• To practise playing two consecutive up bow quavers

• To practise the augmented 2nd interval as it occurs during the piece in the key of G harmonic minor (E to F#)

La Festaiola begins and ends on a G, just like the G minor scale. Also, the note F# occurs frequently during the piece. Sometimes in minor keys the second last note of the scale (the 7th scale degree) is raised by a semitone to add melodic colour to the music.Every major scale has a minor scale with the same key signature, this is called a relative minor, or vice versa, it would be called a relative major.

• Practise saying the syncopated rhythm (ti-ta-ti) using the metronome.

• Practise stretching from an E to an F# on the D string (Augmented 2nd)

• Learn where the semitones occur in 3rd position by studying the finger chart.

• Revise where the semitones are in 1st position by playing the Bmajor scale

• Can play the whole piece in tune and in time with the metronome.

• Student uses the correct shifting technique (RGP).

• Ghosts (lightly glides the finger along the string) between 1st and 3rd position.

• Lands notes in 1st and 3rd position exactly without glissando or guessing.

• Can play with the correct bowing style in the correct parts of the bow.

La Festaiola

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‰ Œ& ‰ A crotchet rest lasts for one crotchet beatA quaver rest lasts for one quaver beat

Tips Teacher ChecklistPurpose Theory

36

Points for Parents – Sono Triste

Vibrato

• To practise new rhythms in compound duple time.

• To practise playing expressively using vibrato.

• To revise 1st and 3rd position in the key of A minor.

• Begin by learning to play the piece in time and then try adding vibrato to the long notes only.

• Gradually increase the vibrato and experiment with slower and faster wobbles of the left hand. Listen to how it changes the sound.

• Continue practising the vibrato exercises while learning this piece.

• Can play in tune and in time.• Understands that the vibrato is

there to add warmth to the sound.• Can play with appropriate amounts

of vibrato.

• The purpose of vibrato is to enhance the warmth of ones tone.

• Vibrato is a whole arm action (at this stage) and should be practiced at differing speeds.

• adagio espressivo means slowly and expressively

Exercise 21: VibratoThe purpose of these exercises is to learn to control the amount and speed

of vibrato used at any given time. It is notated in such a way as to roll the finger surrounding the general pitch of the note.

Now try playing a one octave D major scale with molto vibrato as fast as you can, and then as

slowly as you can!

Wobble your arm back and forth moving the tip of each finger on the string.

Begin with a slow 'wobbly' motion q = 60

Now try using a triplet rhythm . . . Continue on each finger

Try now on each finger using a faster semiquaver rhythm

Now really pick up the pace using a smaller and faster wobble motion

Try this rhythm as you wobble very quickly, remaining relaxed in the arm

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