Bach A Minor Violin Concerto – 3rd Movement Practice (Measures 82–90)

Are you working on the Bach A Minor Violin Concerto third movement and wondering how to practice measures 82–90 effectively?

In this lesson, violinist Heather Kaye demonstrates how to practice measures 82 through 90 — one of the trickier passages in the movement due to fast string crossings and demanding left-hand coordination.

This section often feels unstable for violinists at first, but with the right approach to bow mechanics and left-hand setup, it becomes much easier to play cleanly and confidently.

If you are studying this concerto in depth, you can also explore the full guided repertoire study inside the Broadbent School.

💫 Continue studying the concerto inside the full course:
Bach Violin Concerto in A Minor Guided Study

Watch the Lesson

Understanding the Challenge in Measures 82–90

The difficulty in this passage comes from two main elements:

• Rapid string crossings across three strings
• Left-hand placement that must remain stable across multiple strings

The key is to separate the bow work from the left hand at first, allowing each component to become secure before putting the passage together.

Bow Technique for Measures 82, 84, 86, and 87

Measure 82 introduces a bow pattern that crosses three strings in sixteenth notes, followed by an eighth note on the E string.

The goal here is clarity.

Start by practicing the passage with what Heather calls a “sticky” or hooked articulation.

This helps the bow clearly define each string crossing.

Once the articulation feels secure:

Practice slowly.
Keep the bow arm centered on the A-string level.
Allow the motion to stem from the elbow rather than the shoulder.

One critical listening point:

You must always hear the lower D clearly. It should never disappear within the texture.

When the bow motion is stable, the passage can gradually become smoother and more fluid as the tempo increases.

Bow Practice for Measures 83 and 85

Measures 83 and 85 introduce slightly different string-crossing patterns.

Before practicing these with the left hand, determine your fingering choice.

For the D in measure 83 you can either play:

• Open D, or
• Second finger on the G string

Both options work musically. Since measure 85 requires the G string anyway, either fingering can be effective depending on the player’s preference.

To practice the bow motion clearly:

• Use open strings first
• Start on an up bow
• Stay in the lower half of the bow

Avoid traveling too high in the bow, otherwise the lift and articulation of the passage can be lost.

Left Hand Strategy: The “Triple Stop” Setup

Once the bow is comfortable, the next step is organizing the left hand.

In measures 82 and 84, the fingers should feel as though they are placed all at once, similar to forming a triple stop.

Important details:

• Second finger sits across both D and A strings
• The finger should land squarely, with the nail facing you
• This helps ensure accurate intonation across both strings

After establishing the second finger, add the third finger while maintaining that stable frame.

This same setup appears again in measure 84.

Left Hand Strategy: The “Triple Stop” Setup

Once the bow is comfortable, the next step is organizing the left hand.

In measures 82 and 84, the fingers should feel as though they are placed all at once, similar to forming a triple stop.

Important details:

• Second finger sits across both D and A strings
• The finger should land squarely, with the nail facing you
• This helps ensure accurate intonation across both strings

After establishing the second finger, add the third finger while maintaining that stable frame.

This same setup appears again in measure 84.

Shifting to Second Position (Measures 86–87)

In measure 86 the passage moves into second position.

To stabilize this shift:

Feel second and third fingers as anchors first
Establish the frame in tune
Then add the low first finger

Remain in second position as you approach measure 87.

At this point the second finger covers both the A and E strings, again requiring a square finger placement so the pitch remains centered.

This multi-string placement is often the most difficult left-hand element of the passage, so practicing the finger placements separately is extremely helpful.

Practice the Finger Exchange Between 86 and 87

A very effective practice method is to isolate the transition between these measures.

Practice:

• The last beat of measure 86
• The first beat of measure 87

Repeat this slowly until the finger exchange becomes completely secure.

When this change is clean, the entire passage becomes far more stable.

A Simple Trick for the Triple Stop in Measure 90

Measure 90 contains a triple stop that many violinists find awkward.

A simple solution is to stay in second position rather than shifting back to first.

Instead of thinking:

“First position with an extension”

Think:

Stable second position with a leaning first finger.

Steps:

Keep second and third fingers solidly in second position
Unlock the knuckle of the first finger
Lean the first finger back slightly (a low first finger)

This allows you to grab the triple stop quickly and effortlessly.

Study the Entire Concerto Step-by-Step

This lesson is part of a larger structured study of the concerto.

Inside the Bach Violin Concerto in A Minor Guided Course, you’ll find detailed practice guidance for the entire work, including:

• Technical breakdowns of difficult passages
• Intonation and bowing strategies
• Musical structure and phrasing insights
• Step-by-step repertoire coaching

💫 Explore the full course inside the Broadbent School:
Bach Violin Concerto in A Minor Guided Repertoire Study

Final Thoughts

The third movement of Bach’s Violin Concerto in A Minor is full of brilliant violin writing, but passages like measures 82–90 require careful coordination between the bow arm and left hand.

By separating the technical elements and practicing them thoughtfully, this section becomes much more manageable and musically satisfying to play.

Happy practicing!

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