Some Questions With My Answers (Part 3)

(the questions are unedited)
 

Fingered Octaves.

 

Is there any advice you could give me on fingered octaves? They are a nightmare! Amy

I shall present you with a three step course for the study of fingered octaves. I truly urge you to study them in the order and in the way given as I have found over the years that mixing them up really messes about with the students' left hands, believe me. I say three step as there are three components involved in the performance of a scale in fingered octaves.

1) The contraction and expansion of the hand.

2) The change of position.

3) The change of string.

CONTRACTION AND EXPANSION OF THE HAND.

 I assume that by now you will have realised that the 1/3 octave is much easier than the 2/4 octave. This is the root of all difficulties in their performance and must be worked upon systematically. Firstly it goes without saying that the left elbow has to come way to the left with great outward turning or supination of the forearm. The intonation problems associated with fingered octaves are invariably that the second finger is sharp whilst the fourth is flat.

One should begin therefore by establishing a 1/3 octave in 1st position. One should then, leaving down the 1/3 (always leave down the 1/3), add the 2 a major 2nd higher. Once satisfied with this one should then add the 4 establishing the octave 2/4. Once this has been gone through a few times, attempt slow double trills 1/3-2/4. Next repeat the procedure in 3rd position. This time the interval between 1&2 and 3&4 is only a minor 2nd - harder. Practice this for a week or so until the trills become a little faster and consistent.

THE CHANGE OF POSITION.

The work already done on step 1 will be found to benefit you on step 2, of course, but there is more work to be done. Now we are practicing the change of position from 2/4 to 1/3. First establish an octave 2/4 on B in 1st position and shift to C in 3rd position, repeating this over and over. This will never hardly be called a trill, but do your best!. CHANGE OF STRING. As in 3rds the change of string causes more problems than just about anything else.

This is because a simple mechanical fact is seldom understood and fingers are lifted when they should remain down, causing the instrument to jerk at the string change. The string change has to be assisted by means of a previous finger, rather like certain portamenti. For example if one is changing from a 2/4 octave on the G&D strings to a 1/3 octave on the D&A strings then the 4th finger must briefly remain on the D string until the new 1/3 octave on the D&A strings is established or very nearly established.

In other words the previous finger acts as a conduit to the new octave. Likewise when moving from an octave on the D&A strings to an octave on the A&E strings it is the finger on the A string which remains down until the move is completed or very nearly so. I must stress the importance of practicing these steps in order, for about a week or so before adding the next. Then, and only then are you ready to practice scales in fingered octaves.




Stephen Redrobe 2002.