Double Stops in Bruch 3rd Movement
It’s been about 2 weeks since I’ve been assigned this piece, and I have to admit, this is a lot more difficult than the first and second movements, especially the double stops. Does anyone have any advice on how to approach these double stops, especially in measures 3(it feels really hard to get that 1-3 to 1-3 shift in tune), 28(the shift from D-A first position to A-E third position, and also on the third beat whether to do 2-4 1-3 or 1-3 4-0), and lastly 205-207(having a really hard time playing the fifth with the first finger into the 2-4 third, and again shifting to 3rd position for those double stops). On second thought, probably gotta use the sheet music to find what the hell I am talking about.
Thanks in advance!
I used to struggle with any double stop passages until my professional studies- due to too weak muscles, which I discovered much later.
Two-thirds of our technique lie
As someone who will never be able to play the 3rd movement of the Bruch, I can resonate with Emily's comment about finger strength. Listen to Joshua Bell play a third without vibrato during a cadenza or such, and not only does have have to nail it from the outset, but he has to HOLD that for the duration of the note. And if your fingers are wobbling around then you can't do that. If you can't hold your fingers still on the timescale of the note then you've got another source of error in your intonation.
I learned and competed with this movement last year, and my first piece of advice is do not let the double stops overwhelm you to the point where you can't appreciate the music! Along with working on pitch, I highly recommend you listen to as many recordings as possible and really try to feel the music, even if you have to play it without chords at first.
Thanks for the replies everyone!
The smaller our hands, the more we must twist & turn them!
Landon - for the 3rd bar of the solo, the tricky bit in that shift is that you are changing interval from major to minor 3rd as you go. I think the only solution is to do it very slowly, at first with just each finger on one string doing it as a slide, then playing one finger on one string with the other finger placed silently and also shifting and you checking the interval when the shift is complete. Then once THAT is working try a slow sliding shift with a double-stop.
Landon another tip to practice that 3rd bar an octave lower on D and A strings, in first position. That is actually more difficult, which is the whole point. You can practice and "destroy" it there, then have success an octave higher!
Chris-Oh I’m sorry, I listed measure 3 because it was convenient and I honestly didn’t think too much about it, but the other 2 measure numbers I listed are from the start of the piece rather than the violin entry.
Landon,-- My part for the Bruch concerto is in the garage archive (shows how much I like it), and Petrucci is not cooperating with me, so here goes, from the memory bank: