![]() The definition of a “doublestop” is not quite as simple as it may seem, because a doublestop for the left hand is not always a doublestop for the bow (and vice versa). But before jumping into “doublestops” however, we need to take a moment to decide just what is (and isn’t) a doublestop.Ģ: IS IT A DOUBLESTOP? THE CONCEPT OF “BROKEN” DOUBLESTOPS. Whereas doublestops involve only two strings at a time, chords involve three or four strings so, before looking at chords, we will start with a discussion of doublestops. We can consider doublestops as a preparatory step for chords. Playing chords and doublestops represents possibly the ultimate level of achievement for this skill. This specific branch of left-hand technique is discussed at its most basic level in the article “ Left-Hand String Crossings” in which we talk about our left hand’s “horizontal” positional sense” (knowing where our fingers are across the different strings). We are treating chords and doublestops together here because both require the highly developed skill of simultaneously operating different fingers on different strings. Romantic Doublestops/Chords Post-Romantic and Modern Doublestops/ChordsĪs we progress down through this article, many different exercises for working on our doublestops will be offered in their respective categories.ġ: ONE CHORD = TWO (OR THREE) DOUBLESTOPS In spite of this complication, it may still be a good idea to start with the Baroque compilation and work up towards the Post-Romantic excerpts.īaroque Doublestops/Chords Classical Period Doublestops/Chords One notable exception to this “rule” occurs with the need for thumbposition in the neck region in many Baroque period doublestops, which is quite frequent in all music transcribed from the violin repertoire (and also occasionally in the Bach Cello Suites). These compilations have been organised according to their historical period which, as with so many elements of cello technique, also corresponds normally to the pedagogical order: the more modern the repertoire, the more difficult and complex the doublestops/chords tend to be, both for the ear and the hand. For bowing factors in chords and doublestops see String Crossings (bow-level control) in the Bow Technique section.įor those of us who prefer to avoid (or postpone) reading the detailed analytical discussion about doublestops and chords that follows and would rather go instead directly to some musical material, here below are compilations of passages involving sequences (series) of doublestops and/or chords taken from the cello repertoire (including transcriptions). It is however concerned uniquely with the left-hand. This article talks about doublestops and chords on the cello.
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