Double stops, and more...

  1. catmandu2
    catmandu2
    Another member initiated discussion of noting multiple notes--a sort of "capoing" technique. There is certainly a fair amount of double stopping technique, especially in the cajun and Scandinavian music I play on fiddle. It's one of my favorite techniques to employ on both fiddle and contrabass. I may hold a chord shape across all four strings on fiddle (but NOT doublebass ... if I go for more than two notes, I'm apt to hurt myself) and shuffle across pairs of strings--a very effective technique for 'seconding' and accompaniment. Then there was a question of "how does one move it around up the neck?" In response, I guess the more notes involved present increasing intonation challenges. Holding a full chord and sliding it around requires some attention, certainly, as one is simultaneously executing two, three, or even four notes. The best advice I have for such techniques is to pay strict attention and listen carefully. Leaning to play relaxed is probably helpful in simultaneously holding multiple notes for extended phrases. Good exercise for the little finger. Also, I believe this is one partcular aspect where being a mandolin player can really be helpful in fiddling.

    On doublebass, playing up above the heel gets "a little hairy" (in the words of a bassist colleague). Requires careful listening, as shortening the scale is more like fiddle playing .

    Others?
  2. farmerjones
    farmerjones
    i had an instructor evaluate me by seeing how many keys i could play Bile the Cabbage. Why not? i guess. Essentially you can get 1, 4, 5 in a given key that way. It came to a grinding halt at E and lower register A. Forget about Bflat. So he showed me the closed double stops for 1-4-5 in E and it transfered over to lower A. Anywhere on up really. Then he said, "That's how you do Orange Blossum Special you know." And he showed me that. Of course that's all in the shuffle. But the important "springboard" for me was the closed chord (doublestop)formations. Then when i found the FFcP stuff on Jazzmando.com i thought Hey! This sort of takes that formation and moves it all over the neck. Sometimes you have to imagine strings and "frets" that aren't really there, for the true picture. But many of the formations start by planting the index finger as the "nut." All nicely illustrated.
    I don't shift like Kriessler or Hiefetz. But if i have to back some three chord country singer in Fsharp or Cflat i can.
  3. catmandu2
    catmandu2
    Yup
  4. Jonmiller
    Jonmiller
    Hey-intrigueing. Are the movable chord shapes played like on the mando? On a simple two note bar how does one keep a finger straight for both notes are in tune? Can I bar with my thumb (like on cello but not over)?
    I went on Utube for double stop info/lessons and it didn't answer my questions.
  5. catmandu2
    catmandu2
    Jon, the short answer to your question about how to keep one's finger straight to play in tune with double-stops is: any way one can. In other words, listen carefully, and do what you need to do (make adjustments) to render yourself in correct intonation. Regarding playing with your thumb--do you mean "thumb position" as in the upper register on cello and contrabass? I've never heard of anyone doing this with fiddle...I'm challenged to understand where this would be an avantage.

    Perhaps others will have more helpful information.
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