When moving from one double stop to another, Fischer recommends moving one finger at a time rather than jumping with both. Find the "pivot finger" that can guide the hand smoothly to the next position. Where to Find Simon Fischer’s Double Stops Materials
Sixths feel comfortable to the hand but are deceptively difficult to tune. Fischer introduces the concept of "parallel" versus "oblique" motion within the hand. The exercises in this section are worth the price of the book alone.
Fischer views double stops not as an intimidating hurdle, but as a combination of two distinct, manageable elements: simon fischer double stops pdf
Below is an original study piece for solo violin designed around his core principles: maintaining light finger pressure and using "ghosting" techniques. Double Stop Study in G Major Focus: String crossings and finger lightness
: He argues that the finger pressure required for a clean note is the same whether playing one note or four; excessive pressing is often a reaction to increased bow weight. Bowing Strategy When moving from one double stop to another,
Double stops represent one of the most challenging hurdles in violin technique. Playing two notes simultaneously demands flawless intonation, precise bow balance, and optimal left-hand finger pressure. Among the pedagogical resources available to string players, the exercises and philosophies of Simon Fischer stand out as definitive.
Simon Fischer is a distinguished British violinist, pedagogue, and author. He is widely recognized for his long-running column in The Strad magazine and his seminal technique books, including Basics , Practice , Scales , and Warming Up . Double Stop Study in G Major Focus: String
Most traditional methods present double-stop scales as a daunting final product, offering little guidance on how to build the required skills step by step. As Fischer himself notes, standard scale books are essentially "books of fingerings," useful as a list but not as a teaching tool for those who haven't yet developed fluency.
Fischer emphasizes that you cannot play two notes perfectly together if you cannot play them perfectly in sequence. His exercises frequently isolate the individual voices of a double stop. You practice the lower note, then the higher note, and finally blend them together. This ensures that the left hand forms a stable frame before both notes sound simultaneously. 2. Bow Balance and Weight Distribution