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diameter at the ends of the inner slide tubes.) Positions 3 and 4 may be located by referring the player's right hand to the bell of the instrument. Each player "has a different way of visualizing where the positions of the slide trombone are in relation to each other" Positions, especially in the higher register, may need to be shortened or lengthened (sharpened or flattened) to play in tune. Lower-numbered (shorter) positions are closer together than higher-numbered ones. Positions six and seven are primarily useful in the lower part of the trombone's range.
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in the "saddle" of the neck root. Similarly, higher positions on the violin make use of the instrument's "shoulder" (treble-side edge of the top's upper bout) as a touch reference. Some electric string instruments, without a traditionally shaped body, still incorporate a reference feature imitating that shoulder's shape.
163:
The trombone produces notes within its range by extending the main slide to different positions. In first position, the length of the bore is at its shortest; seventh position puts the slide at its furthest extension, at the edge of the inner slide's stockings. (These are sections of slightly greater
58:
With experience, string players become accustomed to the required shape and position of the left hand. Some positions are located relative to certain touch references, or landmarks on the instrument. For example, fourth position on the cello (used in the example below) has the player's thumb resting
94:(e.g., "3rd") or a roman numeral (e.g., "III. pos", "III. Pos", or just "III"). The string can be indicated by string name (e.g., "sul G") or by a roman number (counting from high to low pitches, e.g., "II" for the A string on a violin).
90:
number (1–4) on the first note after the shift. Additionally, the string or position may be indicated as well, following one of several notation conventions. The position can be indicated by
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Although the technique must have been known, based on the fingering and repertoire, treatises do not discuss explicitly it until the 19th century. Among the earliest appearances is the term
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55:, independent of position, is indicated by numbers, 1-4. Different positions on the same string are reached through shifting.
109:. Note the string change to A avoided through shifting and the string change to the G string: the A could have been played
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may be sounded either in position 1 or 4. As a result, trombonists often spend time studying a
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This article is about string instrument technique. For a change of modal frame, see
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The
Natural Classical Guitar: The Principles of Effortless Playing
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Some notes may be sounded at more than one position; for example,
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Possible string technique and notation demonstrated on a bit of "
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recommends that one should 'be sparing of the operations called
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like the D and the entire line could have been in 1st position.
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is the relative location of the hand on the instrument's
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Whistler, "Introducing the positions for violin" (1944).
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100 Violin etudes, book 3 (edited by Eugene
Gruenberg)
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175:to determine how to approach a particular phrase.
311:The New Grove Dictionary of Music and Musicians
271:The New Grove Dictionary of Music and Musicians
397:
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208:Roman numerals above string instrument notes
651:Bowed string instrument extended technique
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390:
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63:Shifting and notation on bowed instruments
300:Boyden, David D. (2001). "DĂ©mancher". In
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901:Category:Musical performance techniques
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79:. When done skillfully shifting avoids
7:
260:Monosoff, Sonya (2001). "Shift". In
86:A shift is usually indicated by a
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922:String performance techniques
103:Twinkle, Twinkle, Little Star
938:
248:School of Violin Technique
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603:Piano extended techniques
840:Extended vocal technique
643:Bowed string instruments
314:(2nd ed.). London:
274:(2nd ed.). London:
67:On a string instrument,
210:. Stackexchange (2017).
114:
32:
366:"FAQ: Slide position"
339:Ryan, Lee F. (1991).
121:(lit. "to shift") in
100:
26:
797:Snare drum technique
618:Three-hand technique
316:Macmillan Publishers
276:Macmillan Publishers
565:Harmonica technique
540:Saxophone technique
457:Finger substitution
364:(26 August 2009) .
545:Circular breathing
447:Extended technique
413:Musical techniques
159:Trombone technique
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33:
909:
908:
325:978-1-56159-239-5
285:978-1-56159-239-5
153:Trombone position
37:string instrument
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876:Related articles
855:Overtone singing
656:Violin technique
555:Flutter-tonguing
532:Wind instruments
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149:and shifting'."
139:classical guitar
137:In reference to
127:L'école d'Orphée
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129:(Paris, 1738).
123:Michel Corrette
105:", played on a
92:ordinal numbers
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49:ordinal numbers
47:, indicated by
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244:Ĺ evÄŤĂk, Otakar
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29:First Position
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575:Slap tonguing
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306:Tyrrell, John
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51:(e.g., 3rd).
50:
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30:
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19:
18:Level (music)
866:Sprechgesang
864:
817:Stevens grip
807:Cymbal choke
756:Third bridge
676:BartĂłk pizz.
628:String piano
507:Stopped note
496:
427:Articulation
369:. Retrieved
356:
340:
335:
309:
295:
269:
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185:Stopped note
166:
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143:Fernando Sor
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118:
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85:
81:string noise
72:
68:
66:
57:
40:
34:
28:
850:Death growl
832:Human voice
802:Burton grip
731:Flatpicking
726:Fingerstyle
721:Downpicking
688:Free bowing
570:Overblowing
482:Multiphonic
442:Double stop
371:30 December
362:Douglas Yeo
845:Beatboxing
789:Percussion
633:Tack piano
580:Split tone
550:Embouchure
477:Intonation
157:See also:
31:Fingerings
860:Screaming
812:Drum roll
683:Col legno
671:Pizzicato
666:Bariolage
492:Pizzicato
472:Harmonics
467:Glissando
452:Fingering
229:Hans Sitt
119:démancher
88:fingering
53:Fingering
916:Category
703:Two bows
698:Spiccato
585:Tonguing
560:Growling
502:Slapping
497:Position
487:Phrasing
343:, p.73.
308:(eds.).
268:(eds.).
179:See also
69:shifting
41:position
822:Rimshot
751:Tambour
736:Picking
693:Martelé
613:Luthéal
522:Vibrato
517:Tremolo
437:Damping
420:General
196:Sources
147:barring
71:, or a
27:Violin
713:Guitar
432:Bowing
347:
322:
282:
250:(1881)
133:Guitar
77:string
883:Étude
595:Piano
107:cello
73:shift
35:On a
771:Harp
373:2011
345:ISBN
320:ISBN
280:ISBN
173:part
111:open
45:neck
141:, "
125:'s
918::
318:.
304:;
278:.
264:;
246:,
231:,
169:D4
83:.
39:,
405:e
398:t
391:v
375:.
351:.
330:‎
328:.
290:‎
288:.
20:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
