Which specific (thirds, sixths, octaves) gives you the most trouble? Share public link
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Practice shifting on the "old" finger framework before arriving at the new one.
Play the lower note, and while sustaining it, gently drop the upper finger. Method 2: Melodic Auditioning simon fischer double stops pdf
The genius of the book lies not just in what it covers, but in how it covers it. Instead of presenting the complete scale as the first exercise, each section features a series of preparatory studies. For example, for the scale in thirds, Fischer has devised around , and only the last one is simply playing the scale slow and then fast. Each of the preceding 19 exercises isolates a different technical aspect, building the player's ability in manageable, bite-sized pieces.
To fully access his detailed diagrams, photo guides, and hundreds of exercises, look for his official physical books and authorized digital publications:
To help apply these concepts to your current repertoire, tell me: Which specific (thirds, sixths, octaves) gives you the
While a free PDF of Simon Fischer's "Double Stops" may be a phantom of the internet, the value of the book itself is profoundly real. It represents a new standard in violin pedagogy, one that respects the immense difficulty of the instrument while providing a clear, achievable, and systematic path forward. By deconstructing double-stops into their core elements and gradually rebuilding them, Fischer empowers violinists to turn their greatest frustration into their greatest strength.
Before bowing, place both fingers down silently. Lift the bow off the string. Listen for the "combination tone"—a third, lower note created by the two pitches vibrating together. If you don’t hear it, adjust your fingers.
, because Fischer’s materials are copyrighted and commercially available (e.g., through Peters Edition or his own publications), sharing or downloading a free PDF without permission would be illegal. If you share with third parties, their policies apply
If you're serious about your double-stop technique, the best and most respectful way to access this book is to purchase a legal copy. This not only supports the author but also provides you with a high-quality, professional publication that will last for years. Here are your best options:
Keep the bow speed constant to prevent one note from dropping out. 3. Left Hand Release and Mobility Tension kills accurate intonation. Avoid squeezing the fingerboard with excessive force. Use only enough pressure to stop the string.
A common mistake is pressing too hard on both strings. Fischer recommends practicing with "minimum viable pressure." The string only needs to touch the fingerboard; forcing it beyond that creates tension, slows down vibrato, and ruins intonation. Core Practice Strategies
Before playing two notes together, practice each line individually. Play the lower voice as a continuous melody, then play the upper voice. This builds auditory awareness of how the two lines interact. 2. The "Adding" Method