Kreisler 3 Old Viennese Dances
So I was looking around good ol' imslp.org and found some Kreisler pieces. The ones that caught my attention were the 3 Old Viennese Dances, because I remembered that Liebeslied was a piece in there.
I sight read them yesterday and I thought it went well. But, while Liebeslied and Schön Rosmarin are not incredibly difficult for me, Liebesfreud is harder for me. I think it's more the beginning with the double stops.
Is there any way that I could get my fingers to move independently? as that is what the main theme needs. I believe that I could get better easily with everything outside the theme. Any advice you can give me would help a lot.
It's an old story.
I forgot the name of this etude, but there is this one with a very easy version of the trill one line note one line technique. My teacher photocopied a page from an etude book, so I don't remember the author of the etude. He told me, but my single-celled brain forgot. This exercise greatly exercises your fingers' ability to move independent from another one. Carl Flesch even wrote in the subtitle for the 6th caprice: "This Caprice, which is to be used for daily study, is of particular value for developing the strength, technical facility, stretching abilities and independence of the fingers." That etude exercises the same fundamental skill, but at a far less technical level due to the lack of stretches and awkwardness that the 6th caprice has.
Dont, Op. 35 Etudes & Caprices No. 6 is good warmup for 4th finger trills. I don't recall it is any help for double stops.
Never played Liebesfreud, so I can't help you with that specific piece. I can share how I was told to practice double stops: step 1: practice only the upper line and practice only the lower line. Step 2: practice only the upper line but place both fingers (the upper and lower line) and vice versa. Step 3: practice both lines.
I'll share what is feeling a bit like a recently-discovered silver bullet to me right now-- Rodney Friend's book (or YouTube videos, if you want to save time and money) on practicing in fifths. For warmups and scale kinds of exercises, but also with passagework. It works like an ever-present Geminiani grip in getting the correct posture that allows relaxation and control. This relaxation communicates itself to the right arm.
For general development of double stops I use Josephine Trott's Melodious Double-Stops for Violin. Starts out simple and progresses. Great for practicing for fingering and intonation.
Break it down. Play the top note slowly with a metronome, then play the lower note slowly with a metronome. Then build the chords up slowly, so if you need to play a D and a B at the same time, play the D and then the B and then together.
Thank you for all the advice so far!