Half Finger
A Violinist’s Guide to Fingering
One important aspect of a violinist’s artistry is his or her ability to choose fingerings for a piece of music that facilitate technique, enable expression, and serve the style of the piece. Two challenges particular to violin (or any bowed string instrument) must be considered when fingering a piece or passage: shifts to different positions and string crossings.
There are several ways to conceal or smooth the rough edges of shifts. Shifting on a bow change may aid in masking a shift. Using the same finger to shift a half-step up to the next position, when possible, could eliminate a larger jump. Depending on the passage, reaching (climbing) to a position might be the best way to conceal shifts. “Reaching” means extending a finger to reach a note that is not within the current position of the hand, then allowing the rest of the hand to follow that finger into the new position. In any scalar passage, shifts should be placed between half-steps rather than whole-steps.
In some instances, an audible slide or glissando might be desirable for expression, depending on the style and period of the piece, the composer’s written directions, and the performer’s artistry and taste. For instance, it is currently generally accepted that slides are inappropriate in Bach, whereas in Tchaikovsky they are not only permissible but also tasteful and stylistic. When purposefully playing slides, never use an audible shift both into and out of a note. Choose one or the other. Think about whether you will shift on the finger of the first note or on the finger to which you are shifting.
Another consideration, as far as expression is concerned, is on what string to play certain notes. Generally, upper strings produce a brighter, stronger sound, and lower strings produce a darker, softer sound. The G string in its upper register may be used for strength or emotional tension in some cases, such as the second movement of Sibelius’ concerto or the beginning of “Tzigane” by Ravel.
When possible, awkward string crossings should be avoided. One should avoid playing only one note on a string, unless a particular string-crossing pattern requires it. Open strings may be used in passing, especially in a fast passage. (A finger is preferable for notes with longer values, for expression’s sake.) The hand position should ideally allow the fourth finger to play the highest note and the first finger to play the lowest note. Employing this kind of forethought can vastly ease the right hand’s task.
The most general goal in choosing a fingering is simplicity. For instance, unless a fourth-finger trill is absolutely necessary (as in Paganini’s sixth Caprice), it should not be used. Normally, open strings should be played in ascending passages and fourth-finger in descending ones. Above all, stay in position when possible to avoid unnecessary, risky shifts.
About the Author
Valerie Gardner has nearly fifty years of teaching experience.
She has published complete scale books for violin and viola,
and a DVD series on learning to play the violin.
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