23

As Jomiddnz points out, there's pizzicato. You could also bow one string and pluck another at the same time. But if you want both notes played with the bow, and don't want the bow to catch the strings in between, the only way is by playing on the top and bottom strings with the bow under the strings. Here's an example (OK, the only example I've found): the ...


13

First I’d like to point out that all the info provided by @BenCrowell is on the money. I would just like to add a few points from the perspective of a bassist. The bass does lend itself to some limited double stops and the best by far are 5ths. They give a nice powerful growly sound. The instrument is tuned in 4ths and since you can only bow adjacent strings ...


12

In writing for strings, the double stops you typically see are thirds and sixths written for a violin solo. In a violin concerto, for example, this gives the soloist a chance to show off some harmonic color and sound fancy. On the violin, these intervals fall comfortably under the fingers of the left hand, and a proficient player can easily play them in tune,...


11

Just to be pedantic, you could pretty easily bow the open G and A strings together by holding the D string depressed just above the bridge.


9

This is common notation in keyboard music, although we don't call them "double stops"; it's just harmony. When notating something like this, you write the music out as different voices, with the caveat that up-stem and down-stem notes help clarify which voice is which. Consider the following example: the up-stem pitches are one voice and the down-stem half ...


8

Just to add to the other answers, there's this unusual technique where you loosen the hair of the bow and play with the stick of the bow under the violin, but the hair wrapping over it. This allows you to play three or four strings simultaneously. To play only two non-adjacent strings, I guess you'd need to somehow mute the string(s) in between. I never ...


6

Absolutely, but it's harder on a modern instrument As RedLitYogi says, the convex bridge (not the fingerboard!) affects your ability to play more than two adjacent strings. A tight bow means you can only normally hit two notes at once. Historically this was not the case though. Baroque instruments had a shallower curve to the bridge, and they also used ...


5

When playing three or four string stops, don't try to play all the strings at once. For a triple stop, you start double on the lower two notes and rotate to the upper two notes during the bow stroke, roughly splitting the duration of the note in half for each double. On a four note stop you play the bottom two strings, then transition to the top two. ...


4

Maybe there's a better way, but to me it would come naturally as: - 1+4 (3rd position), - thumb+2 to avoid moving hand or 1+4(2nd position), - 1+4 (1st position), - 0+3, - 1+4, (3rd position) - 1+4, same alternatives as before - the D+F chord is impossible on the standard-tuned cello since it requires two strings lower than F2, therefore only one of ...


3

It's a bit awkward but can be done. And no, you don't have to indicate open strings. The player can easily figure that out.


3

Any individual double stop can be played on the violin as long as: 1) It's not bigger than an octave. (If the lower note is on an open string, a bigger double stop is possible. Other double stops slightly bigger than an octave are possible in certain ranges or for violinists with large hands.) AND: 2) The higher note is at least as high as the open D (...


3

These shapes in both your E string and A string questions are minor and major tenths. A 10th is a 3rd interval but with an added octave separating the two notes. The TAB helps and shows the starting pair of notes is, low to high, B and D so it is a B with a minor 10th above it. The second pair is F# and A, another minor 10th. Even though they are not ...


2

If you used two bows you could achieve the result. It would be rather tricky to hold them both, and only short strokes would be viable without some extremely dexterous right-hand work (or perhaps a bowing action which moves the bow along the strings more than across them - which wouldn't sound great), but would be more versatile than the under-the-strings ...


2

They are not octaves, because they are not playing the same note. They are thirds (spanning more than one octave of course), a type of dyad for the purists. They are used in countless riffs and songs (Scar Tissue by RHCP and Blackbird by The Beatles, first that I can think of besides what you mentioned). Among with power chords and already mentioned ...


2

Just tried it - it's a very awkward thing to play on a violin (easy on a guitar, though) I used my ring finger on the A to hold the Db, and then use first and index fingers to trill on the E string. It's an annoying stretch, and getting the index finger in there is not comfortable at all. Are the two voices there supposed to be played on the same violin? I ...


2

I agree with Alessandro's answer. Just thought I'd drop in to suggest you move the whole thing up an octave. Not only will it be closer to vocal pitches, but then you can play that D-F doublestop. And if you're comfortable in higher positions, you can play the chords in "pairs" without shifting, i.e. Moving down first chord 1+3, next chord down thumb+ 2 ...


2

No. It is physically impossible unless you play it pizzicato.


2

You most likely know this, but just in case: the instruments of the string choir (violin, viola, cello, bass violin) all have convex fingerboards. This makes it much easier to bow a single string than it would be if the strings were all on one plane as they are in guitars and lutes, etc. That is why the answer given in 13 seems to be the best. (Paganini ...


1

Work with a teacher. (Yeah, I know, I always answer with that suggestion). Every person learning a bowed string instrument goes thru this at some point: it's a matter of learning finger shape and position, and that's best done with a teacher or other experienced player watching you. In fact, you'll have to learn not to touch neighboring strings most of the ...


1

I just realized there is a way (and it works quite well, I tried it) to play double stops on the G and A strings, while still being able to finger them normally: unscrew the the bow completely, pass the frog (carefully!) down between the E and A strings and under the A, D, and G strings. Screw it back on. Play with the bow lifted, not pressed. You will ...


1

for octave doublestops Obviously above 4th or 5th position you can do whatever's comfortable (or better, whatever pairing lets you get into and outof the double-stops to the remainder of the notes in the passage) . In the lower positions, folks like me with big hands have no difficulty playing thumb + 3 or even a fully extended 1+4 . Smaller hands ...


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