Double-Stopping—Useful in Developing the Hand—How to Determine the Fingering of Various Intervals—Gliding in Double-Stops—Chords—A Correct Manner of Playing Chords.

Double-Stopping.

In consequence of the great distances which separate the notes in the neck positions on the violoncello, nothing very extraordinary is written, or is expected in the matter of double-stopping. However as a training for the left-hand, there is nothing to equal a series of well planned studies in double-stopping; by practising such, the student obtains a command of the various "stretches" necessary for a correct use of the fingers of the left hand. Dotzauer, in his famous studies, seems to have recognized this, and by the regular, systematical introduction of double-stopping exercises of varying and increasing difficulty, almost compels the absolute development of the left hand. In practising double-stops, the student must always be careful to cause equal pressure to be applied by the bow to both strings, so that each note of the chord is distinctly heard. Some young players on the other hand, instead of requiring to be urged to do this, are unable to give two strings a continued even vibration, without expending an undue amount of force, but this is really so elementary a matter that a little practice on the open strings (sounding them in twos) should easily set right. Beyond this the player should have all the varieties of light and shade just as much at command in the bowing of double-stops, as in playing single notes.

With respect to the left hand, the chief difficulty which first assails the student is that of judging the character of the intervals, and for their production—in knowing exactly in what "form" the hand should be; thus in certain chords the hand has to assume its most "stretched" form, for others the normal, or closed positions of the fingers are necessary. This knowledge is really of great importance; both notes of a chord must be sounded simultaneously, therefore even before the chord is approached, the player must be conscious of the "form," as well as the position in which the hand has to be, in order to play any combination of notes. A few of the easier chords in double-stops may readily be learned in the following fashion:

Taking the fifth as the basis, it will be evident that if any finger be placed horizontally across two strings, in any part of the instrument, a perfect fifth will be produced. To accomplish this the student will have to depart from the rule respecting the stopping of notes with the tips of the fingers, as it is impossible to produce a fifth except with "flat" fingering, or of course the open strings.

From this it will be an easy matter to settle the fingering of a major sixth; in the first position, a major sixth may be produced by using a lower open string, and the first finger on a higher string, thus in any position the fingering of major sixths is obtained on the same principle, viz., the higher note is fingered a whole tone in advance of the lower.

The same method may be taken to obtain the fingering of a perfect fourth. In the first position, using the open string, a fourth in double-stops is produced with the open string for the higher note, and the first finger on the next lower string for the lower note; here the lower note is fingered as far as position is concerned a whole tone in advance of the higher note. Major thirds in the neck positions, have to be played with the "set" fingering of fourth and first; using the fourth finger for the lower note and the first on the next higher string for the higher note.

A little time expended in the study of Ex. 39 will clearly illustrate the preceding remarks, and at the same time will prove conclusively, that if double-stops are only treated according to their harmonic worth, that is as perfect fifths, fourths, major and minor sixths, thirds, etc., the difficulties of extreme keys, and positions, will in a great measure be cleared away.

Thus in any position the relation of two notes (providing the harmonic value is the same) remains undisturbed, the only difference in the fingering being in the lower positions where the open strings are utilized, and the only modification being in the very high positions, where the gradually decreasing distances of the intervals render the use of the fourth finger unnecessary.

Before attempting anything great in the matter of double-stopping, the student should practice various scales in sixths, thirds, etc. (both notes being sounded together) and also any possible arpeggi in double-stopping, after the manner of Ex. 40.

The student will not find any published arrangement of arpeggi in this form, but he may easily construct them for himself, using only the tonic, mediant, and dominant of the key. It will be found that a little practice in this direction will amply repay, as to accomplish the playing of arpeggi in double-stopping without scrambling and with the intervals correctly in tune, means a command of the positions truly remarkable.

In reading works composed chiefly of double-stops, it is at first rather difficult to decide in which position any passage should be played. The progression of both "melodies" has to be watched, as well as the intervals which separate any given two part chord, the fingering is also affected by the preceding and the following chord, as well as by the introduction of passing notes, or such ornamentation as trills, turns, etc., in either of the parts.

With respect to shifting, leaping, etc., in double stops, owing to the choice of fingering being curtailed, the player must be careful that no unpleasant howling is thus caused.

In passages composed of thirds (slurred), the player must leap firmly and rapidly from one chord to another, and where necessary withdraw the pressure from the bow, so that although the passage is yet slurred, the connecting glide is not too much in evidence.

A striking example of the need of this advice is found in the Military Sonata by Boccherini in G (Ex. 41). This passage is played throughout with the first and fourth fingers—that is the first finger plays the upper melody, the fourth finger playing the lower.

It will be evident that the beauty of the above melody will be destroyed if no division whatever is made between the notes. This must be accomplished without spoiling the legato effect of the three slurred quavers. A skilful management of the bow may also serve to hide a difficult and awkward move; thus in cases where the fingering is reversed for two succeeding chords (Ex. 42), it is liable to let the open strings be heard during the changing of the fingers, especially if a big leap has to be made to reach the second chord. This will be very slovenly, and on no account must be allowed.

The portamento may be introduced in double-stopping progressions for effect, but more knowledge and judgment is necessary for its successful use than in single melodic progression. It is generally safe to introduce it on two chords taken with the same fingering in different positions, with the exception, of course, of whole passages in thirds, etc., like the "Menuetto" in the Boccherini sonata previously mentioned.

Occasionally, when moving from one position to another, it will be found advisable, or necessary, to let one of the parts cease, until the required position is gained, the glide being executed between the upper notes only; the player must study any such special passages, trying them over in various ways, until he is perfectly satisfied that the correct, and yet most effective method, is arrived at.

Chords.

Owing to the arching of the bridge, it is impossible to sustain more than two notes during the whole stroke of the bow. Therefore, three or four part chords are only possible as "broken" chords (Ex. 43). A bold attack is necessary to play chords at all effectively, the fingers of the left hand should be placed simultaneously on the strings, the necessary changes in fingering for a succession of chords, being accomplished rapidly and neatly during the moment of reversing the bow-stroke.

It is general to explain that although chords are written as in Ex. 43, yet it is only possible to play them as in Ex. 43a. However, if the chords have to be played in strict time, it will also be evident that even this method cannot be followed—each minim would receive three beats, one for the two lower notes and two for the two upper. A correct way of portioning out the time to be allowed for each couple of strings is shown in Ex. 43b. The student should here count four quavers to each chord.

In some cases the chords are intended to be firmly and smartly struck, such as repeated chords at the end of a brilliant allegro, the chords should be divided, allowing half the time for the lower strings and half for the upper, and instead of sustaining the upper portion, the bow should be immediately taken off the strings, thus allowing them to vibrate freely and vigorously (Ex. 44). Chords of this description are usually taken with down bow-strokes. The player should take care, however, not to make the chords sound too harsh, or crabbed.

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