A Dictionary of Music and Musicians/Shift
SHIFT, in violin-playing, a change of the hand's position on the fingerboard. In the first or ordinary position, the note stopped by the first finger is one semitone, or one tone, as the scale may require, above the open string. [See Position.] Whenever this position is quitted, the player is said to be 'on the shift'; and the term is applied to changes of position, in either direction, the player being said to 'shift up' or 'down' as the case may be. The second position on the violin is called the 'half shift,' the third position the 'whole shift,' and the fourth the 'double shift.' The use of the shift is derived from the viol. Instruments of the lute and viol type were generally fretted by semitones throughout their lower octave, or half of the string's length, and on a fretted instrument the use of the shift presents no difficulty. The viol music of the 17th century proves that players were familiar with the art of shifting throughout the lower octave; and it is clear that it was equally well-known to the old Italian violinists. From the following passage, taken from a work of Tarquinio Merula (before 1639), it is quite evident that they were familiar with the alternation of the first, second, and
third positions, and other passages occur about the same date, which extend even to the fourth position. Practically the commonest and easiest method of shifting is to advance by intervals of a third, for instance from the first into the third position (hence probably the denomination 'whole shift,' which the latter position has acquired), and from the third position into the fifth. The same thing prevails in the fingering of the violoncello. In both instruments this shift of a third is effected by means of the first and second finger, which are employed alternately in ascending or descending the scale on a single string. So inveterate does this practice of shifting by thirds become with many players, that they are unable to shift in any other way, and consequently never resort to the second position. Eminent modern violinists, indeed, have frankly confessed to not being masters of this position. The doctrine and practice, however, of the old Italian school was that the half-shift or second position should be mastered thoroughly before advancing to the third position; and the works of Bach, Handel and Tartini presume a fundamental knowledge of the half shift as well as the whole shift. Unnecessary shifting should always be avoided; that is, all passages should be played with as few alterations in the position of the left hand as possible. To carry out this rule fully demands a thorough knowledge of the fingerboard, for a player who is only at home in certain positions will be driven to the shift in passages which ought to be executed without its aid. The following simple passage, for instance, can be played in the second position or half-shift without any change:—
But if the player is not master of this position, he will be forced to shift on every alternate note.
Another rule is that the shift should be effected quietly and firmly. In order to do this, it must be effected not by a sudden or jerky motion, proceeding from the shoulder, but by rapidly altering the grasp of the thumb and fingers, the thumb moving slightly in advance, and guiding the fingers into the required position. The position of the hand and arm should be disturbed only so far as is absolutely necessary.