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Double Stops for Cello Free FREE DOUBLE STOPS FOR CELLO PDF Rick Mooney | 40 pages | 01 Jun 1995 | Alfred Publishing Co., Inc. | 9780874877618 | English | United Kingdom Double stop - Wikipedia This article is concerned uniquely with the left hand. To avoid or postpone reading this detailed analytical discussion and go straight to some practice material click here:. We are treating Chords and Double Stops together here because both require the highly developed skill of simultaneously operating different fingers on different strings. Playing chords and double-stops represents possibly the ultimate level of achievement for this skill. We can consider double stops as a preparatory step for chords. Whereas doublestops involve only two strings at a time, chords involve three or four strings so, Double Stops for Cello looking at chords, we will start with a discussion of double-stops. This is best illustrated with some examples. In spite of this however, our left hand is in fact playing double-stops all the time, as it is working simultaneously stopping on two adjacent strings. The second line of examples illustrates the opposite situation. Below, we have written out what our left hand is actually doing in each of the above examples:. Surprisingly often, it may be convenient to shift to a double-stop with our left hand even though there are no double-stops Double Stops for Cello the music yes, this is the definition of a Double Stops for Cello double-stop. This technique is especially useful when that rapid string crossing also involves an extension. This is best illustrated with some examples:. However, in broken double-stops — fortunately — we can choose what we want to do with the fingers which are not sounding. We have three possibilities:. Certainly, relaxing the fingers when they are not in use is an absolutely fundamental technical principle that will help keep our hand flexible, alive and responsive even in the fastest repetitive passages. Double-stops often make one good player sound like two bad players. Sometimes, even the very best composers are unaware of the technical difficulties they are creating when they write a passage in double stops. If there was a mathematical formula to calculate the level of difficulty, shifting in doublestops would not be the sum of the difficulties of the two simultaneous shifts to the single notes, nor would it be simply twice as difficult as shifting between single Double Stops for Cello, but rather it would be the square of all the combined single note shift difficulties! Passages that sound beautiful in the Double Stops for Cello imagination — and that would sound beautiful if played by two cellists — can be very awkward and thus easily sound awful when played in double stops by only one cellist. Here are some examples:. Even in chamber music pieces, with other instruments free to fill in the harmonies or play the duo line, he gives the cello some rather awkward Double Stops for Cello stops, guaranteed to make a lovely melody 10 times more difficult. In particularly difficult pieces, the solo-french horn players in symphony orchestras have an assistant to help them with the part. If each of the two soloists in this Concerto could likewise have an assistant to help out with the double-stops, this piece would probably sound a lot better, and would certainly be a lot more pleasurable to play, especially for a small-handed cellist. There are several reasons why it is that double-stops are so much more difficult than just the sum of the two simple single notes:. Significant extra tension is normally needed in the left hand to hold down two notes at the same time, especially when the distance between the two fingers is large. This creates problems for the vibrato and for the fine positioning needed to make a beautiful sound. This occurs much less on the violin than on the cello. On the violin, the distances are smaller. That is why many most of the original double-stops have been Double Stops for Cello from the transcriptions of violin music in their version for cello found on this site. If you have a big hand, or are very flexible, then you can play the cello more like a violin …… and you can put the double-stops back in! For this reason, even in the neck and intermediate regions where we would not normally need to use it we may prefer to use the thumb instead of a Double Stops for Cello finger and thus allow the hand to do vibrato as in the following examples:. This use of the thumb is especially useful for playing double-stopped minor third intervals across 2 strings requiring the major third stretch. Here the use of the thumb eliminates the need for the extended-back higher finger which is a real vibrato-killer. The third exception concerns double stops that involve an open string. Note however if the open string that is sounding is the higher string of the pair, even though this is not a double Double Stops for Cello and does not require extra hand tension, it does require certain uncomfortable modifications of hand and finger posture in the sense that we need to play more on the tips of the fingers in order to not interfere with touch the higher open string. Keyboard players and guitarists are used to playing several notes at the same time. They thus learn, almost automatically, to hear, think, play and memorise music both harmonically vertically and melodically horizontally. We string players, on the other hand, are principally horizontal, melodic thinkers because we spend such a large majority of our playing time just playing one voice one note at a time. Because of this, we can be quite weak at thinking and hearing harmonically. When we finally have one of our rare passages in doublestops, our ears can get a little lost amongst the two voices. Trying to distinguish between them and work out what to listen to can appear difficult but in fact is largely a question of practice and training. Surprisingly, even for cellists, used to playing the lower voices, our ears are normally attracted to the higher voice, especially in passages where the two voices move in parallel. We can confirm or disprove this by playing different scales in thirds and sixths in which Double Stops for Cello sing Double Stops for Cello of the voices and play the other. Usually it is easier to sing the top voice Double Stops for Cello the bottom voice. The following link opens up two pages of material exercises for working on this aural skill of voice separation:. But for a string player the situation is very different: playing and correcting two notes at the same time is much more than twice Double Stops for Cello difficult as playing one note. Hearing and tuning two notes at the same time — even in the same position without any shifting — is comparable to doing two different mathematical calculations, not one after the other, but at exactly the same time! And if we incorporate shifting into a double-stopped passage, the aural difficulties increase exponentially. When playing on only one string, we need to remove all the higher fingers in order to play a lower finger, but when playing on two strings at the same time, this is no longer the case. Suddenly, the possibilities of operating lifting Double Stops for Cello and off the string different fingers at the same time are multiplied exponentially and thus a whole new world of problems of finger coordination, independence and simultaneous finger placement opens up. Sometimes we might choose to shift more in a doublestop passage in order to avoid the need for the fingers to jump between strings. The Cossmann Double-Trill Finger Double Stops for Cello exercises found here are undoubtedly the best practice material for acquiring the skills of finger coordination and independence on two strings simultaneously. They are also excellent for developing strength and aural skills hearing and tuning two notes at the same time. Here you can find the same exercises in Thumb Position. The complexities of hearing and playing our doublestops means that they — as well as any large intervals which need to be heard harmonically rather than Double Stops for Cello — are also often particularly difficult to memorise. The cadenza from the Rococo Variations is another good example of the added difficulty of memorising chordal passages. Even in chamber music it may be possible to redistribute the notes among the different players to improve or Double Stops for Cello awkward double-stops — certainly pianists usually have a spare finger available to lighten Double Stops for Cello load and this can make the difference between pleasure and suffering …. In a totally transparent texture, where every tiny bit of out-of-tune playing can be heard immediately, Beethoven writes a series of low sustained doublestopped fifths F and C for the cellos. Fifths are the hardest doublestop to play in-tune and the lower register is the hardest one in which to hear and tune our doublestops. This is absolutely nothing to be gained for a cello section by trying to play these as doublestops. In fact this passage is almost an IQ test for a section principal or Double Stops for Cello. They may be difficult to play and very ungrateful in performance, but double-stops are a wonderful tool for practicing. They develop, in an accelerated, concentrated and highly efficient way, many extremely useful skills, such as:. If we can play and shift on two notes quite well at Double Stops for Cello same time, then when we only have one note to play or shift onit will feel fantastically easy.
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