A double stop is the simultaneous playing of two strings on the violin, creating a two-note chord. Once you master single-note melody playing, double stops open up new expressive and harmonic possibilities. This technique is intermediate to advanced but learnable with patient practice.
What Is a Double Stop?
A double stop occurs when your bow plays two strings at the same time, and two fingers (or one finger plus an open string) produce pitches on those strings. The result is a two-note chord—simultaneous pitches that blend into a single, thicker sound.
Double stops serve several purposes. They add harmonic richness to a line, allowing you to imply chords underneath a melody. They demonstrate technical skill—managing bow contact with exactly two strings while placing fingers accurately is challenging. They add texture and weight to passages. And they’re used for drone effects, where one string holds a steady note while another plays a moving melody above it.
Beginners usually focus on single-note melodies for the first year or more. Double stops typically enter the curriculum around intermediate level (2–3 years of serious practice), once finger placement and bow control are solid.
Types of Double Stops
There are three basic categories:
Open-string double stops combine two open (unfingered) strings. The simplest example is playing the G and D strings together—both ring without any finger pressing. Open-string double stops are useful for getting comfortable with two-string bow control before adding fingering complexity.
Harmonic double stops involve one open string and one fingered note. For example, play an open D string while fingering a note on the A string. This is easier than fingering both notes because one string handles itself.
Fingered double stops require both fingers to press down on two separate strings simultaneously. For example, placing your first finger on both the D and A strings creates a two-note interval. This demands careful intonation and hand coordination—your fingers must find the exact spot on each string while your bow keeps both strings vibrating.
Common double-stop intervals in violin music:
Thirds: the most common, sound harmonious and mellow.
Fourths: bright and open-sounding.
Fifths: open and resonant, often used with one open string.
Sixths: warm and full, similar to thirds in character.
Octaves: create a reinforced, thick version of a single note—technically demanding.
Your left hand’s span determines which intervals you can play. Small hands find octaves difficult or impossible initially. Experienced players develop hand flexibility to manage wider intervals.
How to Finger Double Stops
Here’s the progressive approach:
Start with open-string double stops. Play your D and A strings together, focusing on bow control. Keep the bow straight and apply even pressure to both strings. You should hear both notes equally. Practice sustaining this for several seconds, then switch to G and D strings, then D and A, then A and E. Get comfortable with the feeling of two strings under the bow.
Add one-finger double stops. Place your first finger on the D string to create a note, while the A string remains open. Bow both strings together. Your finger presses down on the D string’s fingerboard while the A string rings open. This is less demanding than fingering two strings but starts adding complexity.
Progress to two-fingered double stops. Start simple: place your first and second fingers on the D and A strings (creating an open-string interval shape). Both fingers press down simultaneously. The bow plays both strings. This requires your left hand to have both fingers ready and your bow to contact both strings evenly.
For fingered double stops on adjacent strings:
Identify the interval you need (a third, fifth, etc.).
Map out finger placement on both strings. If you’re playing an A and a C-sharp (a third), decide which finger goes on which string. Typically, the lower-pitch note uses a lower finger on the lower string.
Practice the finger placement without the bow—just press down and ensure both notes sound clearly. Listen for good intonation. Adjust slightly if a note sounds flat or sharp.
Once finger placement is solid, add the bow. Use a smooth, even bow stroke that contacts both strings equally.
For double stops across non-adjacent strings (like D and E strings, skipping the A string), the technique is similar but requires more bow angle control.
Bow Control and Pressure
The biggest challenge with double stops is getting your bow to contact two strings cleanly and evenly.
Your bow hair must land on both strings simultaneously, and your bow angle must be such that the weight distributes evenly. Angling the bow too much toward one string creates an unbalanced sound—one note louder than the other.
Here’s a practice approach:
With two open strings, start with very light bow pressure. Drag the bow slowly across both strings, listening for both pitches clearly. Most beginners tend to overpressure and create scratchy tension. Light pressure lets you hear the tones separately first.
Once you’re comfortable at light pressure, gradually increase pressure evenly. The goal is more volume without losing clarity.
Practice the bow transitioning between pairs of strings. Play D and A, then switch to A and E, then back. This trains your bow angle to adjust smoothly.
For fast double-stop passages, speed up the bow without increasing pressure. Faster bow speed creates volume without tension.
Use smooth bow strokes early on. Save bouncy techniques for later. Focus on sustained double stops first—long bow strokes where both notes remain audible and clear.
Practice Progression
Week 1–2: Open-string double stops only. Play every pair: G-D, D-A, A-E. Sustain each for 5–10 seconds. Repeat daily. Goal: comfort with two-string bow control.
Week 3–4: One-finger double stops. Add a fingered note on the lower string while the upper string remains open. Example: D-string first finger with open A string. Repeat for different string pairs.
Week 5+: Two-fingered double stops on adjacent strings. Start with simple intervals (fifths, which use the same finger on both strings). Progress to thirds and sixths, which require different fingers on each string.
Once basic double stops feel stable, gradually increase speed and dynamic range. Play soft double stops, then loud ones. Play fast passages with double stops. Combine double stops with single notes in the same phrase.
Advanced Double Stop Techniques
Tremolo double stops: rapid bow direction changes on the same double stop, creating trembling texture. Used for dramatic effect.
Harmonic double stops: press lightly at specific “node” points on the string to create bell-like harmonic tones instead of regular pitches. Advanced technique.
Double-stop chords within single phrases: alternate between single notes and double stops to build harmonic texture while maintaining a melodic line.
Octave double stops: two notes an octave apart, creating a reinforced, thick sound. Technically demanding due to wide finger stretch.
These advanced techniques build on solid fundamentals. Master basic double stops before attempting them.
Frequently Asked Questions
At what skill level can I start double stops?
After 1–2 years of consistent practice, once single-note playing and basic positions are solid. Fingers need enough control to place precisely, and the bow needs to contact strings cleanly. Rushing into double stops too early frustrates progress. Work with a teacher to gauge readiness.
Why do my double stops sound scratchy or uneven?
Usually a bow pressure or angle issue. You’re either pressuring one string more than the other (uneven sound) or applying too much pressure overall (scratchy tension). Practice light bow pressure on open strings first. Gradually increase pressure as you build control.
Can I play double stops on non-adjacent strings?
Yes, but they’re more difficult. Your bow angle must change significantly to contact non-adjacent strings evenly. Adjacent strings (D-A, A-E) are easier because the bow angle adjustment is subtle. Start with adjacent strings, progress to non-adjacent once you’re comfortable.
Do I need large hands for double stops?
Large hands make certain intervals (especially wide ones like octaves) easier. Small hands can play most double stops, though they may take longer to develop. Hand flexibility and practice matter more than hand size. Work with a teacher on accommodations if stretches feel painful.