Let’s talk double-stopping thirds on the violin and viola! This interval can be challenging, but there are a few things that can take them from feeling impossible to quite manageable with some dedicated practice.
The misconception: Reaching with the third/fourth finger
To play thirds correctly, many violinists and violists must make a mental adjustment about their left hand position. Many methods teach an approach to the left hand that balances the hand on the first finger. Though not entirely a wrong method, it can cause problems when a technique calls for the player to balance their hand on a finger other than the first finger.
Thirds should be played with the balance of the hand shifted towards the third and fourth fingers. In order to feel the difference between balancing on the first finger and balancing it on the third, imagine your knuckles were filled with water. If you are balanced on the first finger, most of the water is resting in the first finger knuckle. To shift the balance to the third finger, allow the water to flow down your knuckles so that most of it is now resting in the third and fourth finger knuckle. At this point the first finger should be relaxed, somewhat like a half-deflated water balloon.
Many violinists do not shift the balance of the hand to the third and fourth fingers to play thirds, and instead, leave the first or second finger tense on the string and then reach and stretch for the lower note with the third and fourth finger. However, this causes tension in the hand which makes executing consecutive thirds especially difficult. It also causes intonation problems since most of the pad of your third or fourth fingers ends up on the string causing the lower note to be sharp. Or the first/second finger ends up being pulled slightly by the third/fourth fingers causing the upper note to be sharp.
Reaching back from the third/fourth fingers
So, in order to play thirds comfortably and in tune, the balance of the hand should be on the third or fourth finger. Once balanced, the player should reach back with the first or second finger to the find the upper note of the third. To reach back comfortably, the player must have two things in place:
- The small muscle below the pinkie of the left hand (on the side of the palm), must not be curved out as if to exert pressure down on the fourth finger. Instead, it must be gently drawn in towards the side of the neck. This helps free the joints of the left hand.
- Each finger needs to be able to move independently from the base joint (knuckles). In other words, you should be able to move the first finger back without adding tension to or affecting the second, third, or fourth fingers.
Once your small muscle is gently drawn in, and your base joints are relaxed and can work independently, then your hand will be shaped for thirds. The third or fourth finger should be placed and then the first or second finger should reach back to play the upper note.
Major vs. minor thirds
Many players do not realize that the shape of the hand and fingers is different depending on if you are playing a minor or major third. Instead, they opt for a general “thirds hand shape” hoping that they will generally get the right notes by ear. This inevitably produces quite unsatisfactory and discouraging results especially in the area of intonation.
A major scale played in thirds consists of the following (M = major; m = minor): M m m M M m m M. Knowing how to shape the hand for major vs. minor thirds can make playing any major (or minor) scale in thirds in tune quite attainable. So, let’s look at how to shape the hand.
- MAJOR THIRDS: for major thirds, the physical (not musical) distance between the two fingers (even though they are on two separate parallel strings) is a step and a half. (The musical distance is two steps). So, the hand is shaped “closer” for major thirds.
- MINOR THIRDS: for minor thirds, the physical distance is two steps. (The musical distance is a step and a half). So, the hand is shaped “open.”
So, to play a major scale in thirds, the player should shape his hand as follows: Closer, Open, Open, Closer, Closer, Open, Open, Closer. The player should feel the distance of two steps (open) vs. one and half steps (closer) as he shapes each double stop. Since the hand is already shaped correctly and relaxed, any small adjustment needed in intonation can be made very easily.
The Takeaway: What to Practice
- Practice shifting the balance of the hand from one knuckle to another until you are able to change the balance fluidly at will.
- Practice finger independence by not allowing the movement of the one finger to affect the rest of the hand and fingers. This requires movement in one finger and passivity (or the muscles being at “zero,” not floppy, but not engaged) in the others.
- Practice establishing the position of the third/fourth finger by gently drawing in the small muscle of the left hand (on the side of the palm below the pinkie) towards the neck. Simultaneously, loosen the first and second fingers like deflated balloons.
- Practice shaping the hand for major vs. minor thirds.
- Practice changing the hand between various combinations: major to major, major to minor, minor to major, and minor to minor.
- Finally, practice combining these skills by playing major or minor scales played in thirds. Start with one octave scales and once mastered, move on to two octaves. Sometimes practicing the upper octave by itself before combining them can be very useful as well.
If you have your own insights on thirds, share them below so that others can gain from further thoughts on the subject. Or if you have a question, leave it below as well.