PINNING THE MIDDLE “C” TO THE BOARD:
Remember that, as in all other sets, only three notes in only three positions need to be memorised, but memorised they must be.
In the following, carefully consider the positions and string choices, paying particular attention to the Middle C’s relations to the open strings ②, ③, and ④ (Ⓑ, Ⓖ, and Ⓓ).
Play through the next exercise and then decide:
in which other positions could phrase (A) be played
which (of all possible positions) would be the best position for phrase (B)
which would be the best position for phrase (C)
Some positionings at (A), (B), and (C) are obvious, each being determined by the requirements of the notes marked with an *
At (D), however, the player (or transcriber, or editor) may have chosen - for whatever reason - to split the phrase between two positions, using the opportunity of an open string to make the shift
At (E), three positions have been chosen; this might be regarded as perverse but this is where the joy of combining instinct and artistic choices come into their own once fingerboard knowledge has been absorbed; at this stage, the player’s thinking will be “conscious” - and that’s as it should be - but a time will come (when enough work has been done) when these decisions become the result of sheer musical reactions and technical reflexes; that is when sight-reading becomes a real thrill
At (F), the markings are deliberately far-fetched but give an indication of just how versatile the fingerboard is, and how nearly infinite one’s choices can be (see the “note” re: Bream/Williams on Public Space).
Occasionally practice the following as a reminder of fingering similarities across the board, with the one exception of the G and B strings pairing:
Next: Pinning the Middle “D” to the Board
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