Ex. 61 E oe {2 i DOUBLE STOPS _ thirds with various fing’ 7 Z 4 4 a i ‘There are many instances when we must pl wimp 1) uch eS eG ES combinations (1-2, 1-3, 1-4, 2-4, 34, 2-3)- ee of the left hand, SEE fingerings demand the expansion as well as the contra a and itis necessary to achieve this flexibility. 2 = sae scales in thirds. Tfind this even better than Fingers wou If I had to choose only one technical exercise, it ‘octaves where the lead fingers are one and two. Ind exercise is excellent for working out difficulties, but to devel both for intonation and shifting, Practice glissando scales in th second and fourth. Use minimum pressure, Too much pressure cats rds, iis the third and fourth fingers. The short Sevcik-iypq Gelop the hand and forearm, we need a longer sequen sods with the frst and third fingers and also ty ses stftness and loss of flexibility. High sring increase intonation problems considerably. Ex, 62a THIRDS ~The possibi When practicing glissando thirds or any of these glissando examples, at first do so in the following manner, slowly and forte. 8 , ete, Play one octave up on the two strings and then : down. epposite: play the top string. You are playing a C majo Finger, but do not play the top line. Now do the * scale with two fingers, Silent Ex, 62b 1 Phy a: ete. Play one string. * silent 48751