There are a few ways to approach shifts, each featuring subtly different orders of operation. The approach I’ll be talking about in this post is commonly known as old finger shifting. This name always makes me chuckle, as I imagine some ancient wizened finger interloping during a change in positions.
An old finger shift describes the physical process of measuring a change in positions by gauging the distance the finger you are currently on must travel to put the the finger you are shifting to in the correct place. This does not work if you are shifting on the same finger. For that, we have other options that I’ll describe in a future post.
The reason we like to measure our shifts this way is because if a shift changes fingers, there is some nebulous moment when your body is supposed to change its commitment from the finger the shift starts on to the finger you’re meant to land on. But when? And how do you know where you are on the fingerboard? What guides you?
Many of us unwittingly learn to shift this way, and with lots of trial and error and luck, we can sort of get away with it. But of course, that’s no way to live. When we need it the most, luck has a way of deserting us. My entire teaching philosophy rests on the idea that students should be able to have the worst, most unlucky day ever and their technique and composure will still show up for them.

This is a deeply held convention of mainstream cello technique and philosophy, and for good reason! I have recently encountered some violinists and violists who do not ascribe to this method for mapping the fingerboard, but I suspect the fact that their longest shift is about a foot while ours is close to triple that may have something to do with it.
Here are the steps to navigating a simple same-string old finger shift:
- identify the old (origin) finger/note and the new (destination) finger/note.
- think of the destination position and answer one question: what note does the old finger have to shift to in order for the new finger to be in the right place?
- practice the old finger to old finger shift. this is the “scaffolding” that underlies the actual shift.
- practice the shift as it appears on the page, but stay keenly attuned to where the old finger goes.
Let’s do an example from the repertoire:

This is from the first measure of Popper High School Nยบ 20.
So, step 1: the old finger is 2, and the old note is Bb. The new finger is 1, and the new note is C#.
Step 2: If C# is on 1, then 2 will fall on D. For good measure, I like to name the notes under my other fingers. That way, I might have a better sense for whether the next note will require me to shift, extend, or if I already have it in my handful of available notes.
So to do step 3, I practice shifting from Bb to D, concentrating on an easy, light feel in my left hand and tuning against a drone until it starts to feel automatic and I can hit it 5 times in a row without faltering or feeling anxious. Remember that the shift comes from the arm, and the thumb should feel free and connected to the movement of your arm, not towed along by your fingers.
Onto step 4, the actual shift, but I still feel where the 2nd finger would go, as a guide. The memory of step 3 is what makes step 4 possible!
Now, let’s look at a compound situation, where we have an old finger shift (or is it an extension?) and a string crossing.

Step 1: Bb on the D string, 4th finger to C# on the A string, 1st finger.
Step 2, I ask: is a shift even needed? What would happen if I just plonked my finger down across the string? If I can do that or am only a half step off, I can extend and avoid a shift. So, let’s see. 1 on C# means 2 is D, 3 is Eb, and 4 is E natural. I counted up because the question revolves around the position of my 4th finger. 4 on E on the A string means that 4 on the D string is on A. Drat! I’m short a half step.
So, my options are to do a tiny shift or extend. Whether you do one or the other depends on context: fast? slow? lyrical? slurred? nursing an injury?
Since we are talking about old finger shifts, let’s make this one a shift.
Step 3 means we practice shifting from 4 on Bb to 4 on A to find that lovely C# on the A string. My index finger is always light during shifts, and in this instance, I allow it to gently move towards the A string, so all I have to do when I get to the right place is softly press.
This is another tenet of old finger shifts. When crossing strings, do ALL of the work on the old string. By the time your bow gets to the new string, everything will be set for a clean note.
Step 4, you guessed it: practice the shift as written, making sure you hand stays compact and there is no reaching for the new note. That would create a hybrid shift/extension, which is generally something to avoid.
Let’s try one that’s bit bigger, from Popper 2 in the Preparatory book.

Step 1. We’re in tenor clef, so this is G on 2 to E on 3. All on the same string. Step 2: We assume half steps between fingers unless there are extenuating circumstances, so 3 on E gives you Eb on 2, and D on 1. Since this is a 2 to 3 shift, my step 3 (the scaffolding) looks like practicing G on 2 to Eb on 2 a bunch. G and Eb (and E natural for that matter) also sound great together, so this is another shift where having a drone just singing out that G or Eb is a nice way to use your ear to judge the accuracy of your efforts.
My favorite drone app is Tonal Energy. Some days, that little happy guy is the only thing that makes me smile. And kindness towards animals. That, too.

As always, step 4 is the practice of the actual shift while maintaining awareness of the physical underpinnings you worked to solidify in step 3. So, play G to E, E down to G, moving confidently and with a sense of ease and simplicity.
For the last example, let’s look at a longer shift that also involves a string crossing.

This is from an arrangement of Bach’s Air on the G String, a very exposed octave shift. Step 1: B on 1 on the D string to B on 3 on the A string. The destination position has B on 3, Bb on 2, and A on 1. It’s always useful to find out what notes are available right across the string to determine whether the shift is even needed, and if so, how far you’ll have to go.
So, what’s across from our start position of B on 1 on the D string? If we assume half steps between the fingers, the notes directly across on the A string would be F# on 1, G on 2, and G# on 3. I’m not listing what’s on 4 because that finger is not involved in this transaction. ๐
So, if I’m shopping for a B with my 3rd finger on the A string, how far off am I, in the position I’m currently in? Pretty far! G# is as high as my un-extended hand can go, so that’s a minor third away. Back to the drawing board. We’re gonna have to shift.
If B on 3 is my goal, and my old 1st finger is across the string an octave below, where does my finger have to end up on the old string to put it in the right place on the new one?
The math goes like this:
B on 3
Bb on 2
A on 1
What is straight across from the A on 1? That would be D on 1. So, the scaffold shift is 1st finger from B to D on the D string. Some folks may alter this, preferring to shift to C# and then land on the B in an open hand position (with a whole step between 2 and 3 in anticipation of the A that comes after the high B). That is absolutely fine, so long as you know what you’re doing and why you’re doing it.
So, here are a few more examples that I’ll leave for you to test your knowledge on. If you’d like me to check whether you have it right or not, drop your answers in a comment, and I’ll give you a ๐๐ผ or ๐๐ผ!
Examples 1 and 2: more Bach Air. Shift 1 is F# on 1 to C on 2, all on the A string. Shift 2 is D# on 1 to A on 3, also on the A string.

Examples 3 and 4, from Popper High School Nยบ 7. Shift 1 is from B on 1 to E on 4. Shift 2 is E on 2 to G# on 1.

Enjoy!