Holding fingers on two strings - Kreutzer 32
I'm working on Kreutzer 32 right now, and I'm noticing that when I set the fifth double stop and keep my first finger down throughout, my tone quality gets really intermittent. I'm trying to figure out if I'm doing something sympathetic in my right hand, but it seems like the issue is with my left hand.
It seems like it happens when I get to the 4th double stop, and that when I play without setting my first finger across both strings, I can get a nice sound throughout, but then I have to find a moment to pivot my finger for when I get to the 5th, so that is the drawback.
Does anyone have any thoughts about keeping your finger down throughout, versus moving your first finger at the last moment to get the 5th (Which I find much more comfortable). I have fairly small hands and thin fingers, but not so much that I can't play a 5th. I plan on running this by my teacher, but was curious if this seems like an issue anyone has run across before.
Having slim fingers, for fifths I place them between the the strings, a little further along than usual, so that the sides of the fingertip catch the strings. When only one of the notes is needed, I can roll the tip more onto the required string for a clearer tone.
Christian try to put the first finger more on the E string and only a little bit on the A string. In general when playing double-stopped fifths the finger need not be equally placed on both strings. In your case it can mainly be on the E string with just a "corner" on the other. Then you can infinitesimally roll over like Adrian says. Check this old post from Emil Chudnovsky http://www.violinist.com/discussion/archive/10337/ Actually Emil says "don't lean", I guess if you are playing fast passages there may indeed be no time for that.
I have been aiming for the sides of my finger to hit either string, although I've been playing with leaning. That's a really interesting thread you posted Jean.
I play all my fifths with a sideways finger with a bit of slant.
Here we go again. The discrepency where we have to advance the finger more on th E-string has nothing to do with the curvature of the bridge but is due to the inharmonicity of the thicker strings. (Very strong opinions based on facts.)
Hmmm, I guess this is a little confusing, and I could do a better job of describing. The problem isn't really the 5th, which I can play in tune, but more an issue of how the various ways I could position my finger for the 5ths (as well as the rest of my hand) affects my hand-frame for the other notes I'm playing (My hand feels really cramped near the 1st finger and really stretched near the 4th finger, and it's also an issue of getting the 4th finger to the a string without having it touch and disturb the e string).
My bad! Regardless, it still holds that the strings are not perfectly intune if played with a dead-straightened finger across. Hence, I go sideways for many the benefits. :)
There are moments when I have to have a more cello- or guitar-like hand position during chords (or even arpeggios), which are far from simple assemblies of scale notes.
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