Prepertory Exercises in Double Stopping, Opus 9: Violin Book

Ševcík's double-stopping studies occupy a rare space: they're rigorous enough to build serious left-hand independence and intonation control, yet musical enough that students don't resent the repetition. The Kalmus Edition format keeps this essential resource accessible and affordable for studio teachers and school string programs.

Focused and deliberate. These exercises strip away melodic distraction to spotlight the mechanics of playing two strings cleanly and in tune. The satisfaction arrives gradually: after patient work, the hand learns to navigate the fingerboard's topography with confidence, and double-stopped passages that once felt chaotic become secure and responsive.

Advanced beginning and intermediate violinists ready to develop solid double-stopping technique. This book serves studio teachers, school orchestra directors, and serious students preparing for higher-level repertoire that demands secure interval control across multiple string combinations.

• Slow the tempo significantly on first reading. Ševcík's studies yield their benefits only when intonation receives full attention; rushing defeats the pedagogical purpose.
• Isolate pairs of strings before combining them. If a study spans multiple string pairs, master each configuration separately before playing the exercise as written.
• Maintain consistent bow contact across both strings. Uneven pressure between the two notes will mask intonation problems rather than reveal them.
• Record yourself at regular intervals. Hearing your own progress with double-stopping builds confidence and helps you identify lingering left-hand asymmetries.

Assign these studies as part of weekly technique work rather than full-rehearsal material. They function best as supplementary exercises that target specific technical gaps identified during sectional work or private lessons. A student struggling with double-stops in an orchestra piece might isolate relevant exercises from this collection to solve the problem efficiently.

• Clean intonation in double-stopped intervals (thirds, fourths, fifths, sixths, octaves)
• Left-hand independence and finger strength across multiple strings
• Consistent bow contact and pressure distribution on two strings simultaneously
• Awareness of double-stop geometry on the fingerboard
• Confidence navigating string crossings within double-stop passages