Our work with doublestops can be structured in a progressive manner. At the most basic level, we can start with material that doesn’t involve shifts. The “Cossmann” (the cellist Bernhard Cossmann was the first to publish these exercises) Doublestopped Trill (slow) exercises are excellent for developing simultaneously the multiple skills of strength, aural acuity (intonation awareness) and finger independence/coordination that are not only so necessary for playing double stops, but also so helpful in general playing. As these don’t involve any shifting, they are a good starting point. We can use these and other similar exercises in each of the three basic hand postures (fingerboard regions) separately, as each of these has different fingering possibilities. All of these exercises start without any majorthird handframe extensions and then gradually add them. We do this in order not to overstrain the hand.
Then we can work in each fingerboard region with shifts:
Neck Region: With Shifts: No Extensions Neck Region: With Shifts: With Extensions
Int. Region: With Shifts: No Extensions Int. Region: With Shifts: With Extensions
Thumb Position: With Shifts
Next we can look at material that crosses all the fingerboard regions: