Increasing speed on double stop passage
The link is to three measures of the double stop passage in Kreisler's P&A. I can play the entire double stop passage at about 50% speed (eighth note=100-110), but I can't increase the speed of the transition from the D (on the A)/F# (on the D) to the E (on the D)/D (on the G). In the link, I am referring to the last note at the end of the second measure and the first note in the third. I fingered it with 3 (on the A)/2 (on the D) to 1 (on the D)/4 (on the G), but I was frequently missing the G string with 4th finger playing any faster. Then I tried a "cheating" fingering with the second double stop in third position--3rd on the G/open D--but the C/E in first position immediately after the D/E starts sounding a bit smushed at higher speeds. Any suggestions? (I hope the link works.)
Good. Now do 1000 reps.
If you aren't already, then make it easier on the right hand and just find a simple detache instead of spiccatto. In fact, you may find that too much focus on the right hand is tripping the left up, and you need to work out what each hand is doing separately.
Jocelyn have you observed some soloists on youtube what fingering they use?
My daughter solved that passage, mostly, by using various dotted rhythms. I'm not sure which fingering she used for the last grouping in the second measure, whether that was 1st position or 2nd. One thing you want to do is make sure your elbow is far enough to the right, underneath your violin, so that you can reach the D easily at the start of the 3rd bar. One idea is to make the entire passage all about nailing that D. If that means your elbow is pre-positioned for it, even to the extent that the previously easy groupings are a little harder, so be it.
Thanks Christian and Paul. I've been switching between playing the passage off the string and on. My teacher wants me to play the 1st and 4th note of every set of sixteenths on the string for emphasis, but I expect once it gets up to speed it'll be off the string completely. I think the idea to stop and place my fingers for the D/E is a good one. I'll keep trying with the "stop gap." If anything, I tend to move my elbow too far to the right, so I don't think that is the issue.
Jean--the soloists I've watched use the first fingering I described.
I looked at my music last night and have the F#/D in second position with fingers 1/2, before the D/E with 4/1. It feels completely natural to me, but there is more than one way to skin a cat.