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Ben wrote : Is there any secret to good "double stops"

Hi Ben - never heard of any other way than practice and practice and...

For what it's worth I enjoy playing double stopping - probably because initially I would run full tilt at it and just bull my way through it to get it behind me.

A former principal cellist who played quite superbly taught me how to make it fun. If I use "I" during the explanation it's to save ink - please read it as a tribute to Mr Granville Britten former principal cellist of the Cape Town Symphony Orchestra.

On the cello I first bow only the upper notes while trying to silently finger the lower. Then I reverse the procedure and bow only the lower notes. Always play the notes with the bowing as marked.

While doing this I concentrate on intonation only. No tempo, no time values.

When I can play each line in tune, I try play a single double stopped note (Irish anyone?) - concentrating on intonation AND the bowing. Here as in tuning, you want each string to sound with equal volume - again not concerning my overworked brain with time or tempo.

When you are happy with double stopping the individual notes you start building the phrase by connecting two notes to each other. Try stay with pairs of notes until your fingers have learnt to move surely from one note to the other. This building process continues until you are playing groups of notes as defined by the bowing.

As the bowing and fingering become more secure I then play looking at shading of the double stopped note - i.e. accenting one of the notes more than the other, adding a crescendo to one of the lines, both or crossing from one to the other etc.

By this time you will find that, without looking for it, you will be up to tempo and feeling quite confident in your ability to throw off the double-stopping with panache.

Please do everything in your power not to gloss over a difficult spot "until later" - if you overcome it immediately you will be the better player for it. Once a bad habit becomes ingrained it can take years to break and the fear of fluffing that particular shift or whatever, affects the playing of phrases on either side.

good luck - edi

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: Searched past messages under this subject. Found none. Is there any secret to good "double stops" Any help will be appreciated.

Gosh, there so many different tips for playing and tuning double stops. To tune them, it really depends on the interval. There are basic left hand feelings of a Major third and a minor third. When playing a third in double stop remember that a minor third is spaced larger on the finger board than a major. For instance on the D and A string respectively, G and B flat played together is a larger space than G and B natural. In this case, tune the g to the g string and lower the B flat to make it in tune. Any more question on other intervals feel free to write me.

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: Ben wrote : Is there any secret to good "double stops"

: Hi Ben - never heard of any other way than practice and practice and...

: For what it's worth I enjoy playing double stopping - probably because initially I would run full tilt at it and just bull my way through it to get it behind me.

: A former principal cellist who played quite superbly taught me how to make it fun. If I use "I" during the explanation it's to save ink - please read it as a tribute to Mr Granville Britten former principal cellist of the Cape Town Symphony Orchestra.

: On the cello I first bow only the upper notes while trying to silently finger the lower. Then I reverse the procedure and bow only the lower notes. Always play the notes with the bowing as marked.

: While doing this I concentrate on intonation only. No tempo, no time values.

: When I can play each line in tune, I try play a single double stopped note (Irish anyone?) - concentrating on intonation AND the bowing. Here as in tuning, you want each string to sound with equal volume - again not concerning my overworked brain with time or tempo.

: When you are happy with double stopping the individual notes you start building the phrase by connecting two notes to each other. Try stay with pairs of notes until your fingers have learnt to move surely from one note to the other. This building process continues until you are playing groups of notes as defined by the bowing.

: As the bowing and fingering become more secure I then play looking at shading of the double stopped note - i.e. accenting one of the notes more than the other, adding a crescendo to one of the lines, both or crossing from one to the other etc.

: By this time you will find that, without looking for it, you will be up to tempo and feeling quite confident in your ability to throw off the double-stopping with panache.

: Please do everything in your power not to gloss over a difficult spot "until later" - if you overcome it immediately you will be the better player for it. Once a bad habit becomes ingrained it can take years to break and the fear of fluffing that particular shift or whatever, affects the playing of phrases on either side.

: good luck - edi

edi, I want to thank you. This lesson was better than I could hope from any instructor. I wish it were possible to get you as my instructor. Thanks. Ben

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: : Searched past messages under this subject. Found none. Is there any secret to good "double stops" Any help will be appreciated.

Brandon: Please accept my thanks. I believe that I now have an approach to getting good intonation on double stops. I realize it will require lots of practice. Ben

: Gosh, there so many different tips for playing and tuning double stops. To tune them, it really depends on the interval. There are basic left hand feelings of a Major third and a minor third. When playing a third in double stop remember that a minor third is spaced larger on the finger board than a major. For instance on the D and A string respectively, G and B flat played together is a larger space than G and B natural. In this case, tune the g to the g string and lower the B flat to make it in tune. Any more question on other intervals feel free to write me.

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