Double stop section in Kreisler's Praeludium and Allegro

July 7, 2006 at 04:18 AM · Hi, I am working on Kreisler's Praeludium and Allegro, and I'm having the hardest time with the double stop passage. I especially have problems in measures where the finger patterns are like:

4th finger on G & 1st finger on D, 1st finger on A & 2nd finger on E

and those two double stops are consecutive. I have really slender fingers and so I usually have a hard time with playing 5th double stops anyway, but with this 4th finger on the G, it's even harder. Any tips on practicing that section?

Replies (9)

July 7, 2006 at 05:25 AM · Try placing your first finger between the A and the D strings instead of "on" either string.

July 7, 2006 at 05:31 AM · Greetings,

if you have a really small litlte finger oyu may have to pull the lower string towards the upper to create the fifth. Its unorthodox but some players find it necessary,

Another thing to consider is that a good luthier can adjuts the space between your strings accoridng to personal preference.

Cheers,

Buri

July 7, 2006 at 05:55 AM · If your finger joints fold backwards the way Kreisler's did, this passage becomes a lot easier.

July 7, 2006 at 06:00 AM · Oh, I've tried placing my fingers between the two strings, but then it makes a crappy sound on both strings, not really producing a clear sound from either...

Right now, I'm trying to play it by placing my first finger completely on the D string for one double stop and repositioning my first finger so now it's completely and only on the A string for the next double stop, etc. Would that be too ambitious for when I'm playing the piece up to tempo?

July 7, 2006 at 06:12 AM · That might work, but see if you can adjust your hand so you can flatten your index finger across the strings, much like guitarists do.

Also the finger between the strings trick does work, you just need to fudge with it a little. If you need any more help feel free to jump onto my website (webcam chat, in my profile) and I can demonstrate.

http://henrysbaconfactory.co.nr

July 7, 2006 at 08:00 PM · An advice not primarely for the fifths, but the whole segment:

Dont no. 1, Rostal edition

July 7, 2006 at 08:48 PM · Unfortunately, I don't own any Dont etudes :(

A different question that just popped up: In the string crossing section with a bunch of open E strings (last page), I noticed that different violinists emphasized (and lengthened) different notes... I think. Are there "correct" notes that should be emphasized or is it totally up to the player to emphasize whatever he/she feels is appealing to hear?

July 7, 2006 at 09:07 PM · Pardon my amateur and unlearned opinion, but I think that rapid passages with equal notes like this, especially with a quasi-baroque piece like the Kreisler, sound spectacular when they are played exactly in time.

Sandy

July 7, 2006 at 09:11 PM · My opinion is that the problem is not a left hand one at all. It's a right hand problem.

Think about this:

In the spiccato double stop passage, the bow needs to be on the correct string level BEFORE the note is played.

Put your bow on the G and D strings in a balanced manner. Now lift the bow up to spiccato level maintaining the exact same level. That is the level the bow needs to be at BEFORE the notes D (4 on G) and E (1 on D) are played. Now place the bow on the A and E strings, once again in balanced fashion. Lift the bow to spiccato level above the string maintaining the same bow level. Again, that is the level the bow must be at BEFORE the notes (1 on A and open E) are played.

Be sure not to move the arm too much (I see students do this all the time). Instead, concentrate on how much the bow itself must move for the string crossing. Keep your eyes on the contact point and observe how much bow you're using. My guess is you're probably not making it all the way to the G and D strings after playing the A and E strings. Try to make the string crossing quick without using too much bow. Also, when executing the string crossing from E and A strings to G and D, you might try concentrating on simply lifting the heel (frog) of the bow. In this way, the bow crosses the string in a most efficient manner, ie, on an axis, etc.

That's my educated guess, though, as I have 3 students currently working on that piece and all had the same problem. Good luck to you.

Many problems we think are left hand are actually right hand problems.

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