Bach Violin Concerto in A Minor – 3rd Movement Practice (Measures 105–116)
The third movement of the Bach Violin Concerto in A Minor contains several passages that require careful coordination between the left hand and the bow arm. Measures 105–116 are a good example, combining shifting double stops with quick string crossings.
In this article, you’ll discover a practical approach to practicing this passage by organizing the left-hand double stops first, and then refining the bow mechanics so the passage becomes cleaner and more secure.
If you are studying the concerto in depth, you can also explore the full guided repertoire study inside the Broadbent School.
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Study the Entire Concerto Step-by-Step
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
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Understanding the Passage (Measures 105–116)
The main challenge in this section comes from two elements working together:
• Double-stop exchanges in the left hand
• Rapid string crossings in the bow arm
The most effective way to practice this passage is to separate the hands first, allowing each technical element to become secure before combining them.
Left Hand Practice: Organizing the Double Stops
The left hand in this passage is essentially structured around double stops.
A useful starting point is to isolate each voice of the double stop.
Begin with the upper line of the passage. Practicing this line alone helps the hand understand the shifting pattern across the fingerboard.
Next, practice the lower line separately. In this passage, the lower voice begins with C played with the fourth finger in third position and then shifts to fourth position, repeating the note with the third finger.
Once each voice feels clear individually, you can begin combining them.
A helpful exercise is to finger both notes of the double stop but bow only one string at a time.
First:
• Finger both notes
• Bow only the lower string
Then:
• Finger both notes
• Bow only the upper string
This allows you to hear the intonation clearly and identify where finger exchanges may feel unstable.
Practicing the Double Stop Exchanges
One of the most difficult moments in this passage is the exchange between the double stops.
For example:
C–E → F♯–C
A very effective strategy is to practice these changes using rhythmic variations. Practicing with rhythms encourages the fingers to move quickly and decisively from one double stop to the next rather than hesitating.
Start slowly and listen carefully for two things:
• Clean transitions between double stops
• Accurate intonation in both notes
When the exchange becomes stable, the entire passage begins to feel much easier.
Right Hand Practice: Understanding the Bow Pattern
Once the left hand feels secure, the next step is working on the bow arm.
A good way to begin is by practicing the bow pattern on open strings. This helps clarify the rhythm and the string crossings without worrying about the left hand.
The rhythm consists of sixteenth notes followed by an eighth note, and rhythmic accuracy is essential.
Practicing with hooked bows, or what I call “sticky bows,” can help define each string crossing clearly.
Focus on:
• Relaxed elbow motion
• Straight bowing
• Clean string crossings
• Even tone across the strings
Practicing in front of a mirror or recording yourself on video can be very helpful for checking that the bow is traveling straight.
Shaping the Dynamic Growth
Another important element in this passage is the dynamic shape.
Although the music must project over the orchestra, it is important not to begin too loudly at measure 105.
The real forte arrives later around measure 109, so the phrase needs room to grow.
Think of the forte as open and expansive, supported by a flowing bow rather than pressure in the right hand.
Putting the Passage Together
After practicing the left hand and right hand separately, begin combining them slowly.
Listen carefully for:
• Clear double-stop exchanges
• Clean string crossings
• Even rhythmic flow
• Beautiful, resonant tone
With this preparation, measures 105–116 become far more manageable and musically satisfying.
Related Studies
If you are working on the Bach Violin Concerto in A Minor, you may also find these resources helpful:
• Bach Violin Concerto in A Minor – First Movement Allegro
• Bach Violin Concerto in A Minor – Second Movement Andante
• Bach Violin Concerto in A Minor – Third Movement (m. 82-90)
💫 Explore the full guided course:
Bach Violin Concerto in A Minor Guided Repertoire Study
Final Thoughts
Measures 105–116 of the Bach Violin Concerto in A Minor combine shifting double stops with active bow work.
By organizing the left hand carefully, refining the bow pattern on open strings, and gradually combining both hands, the passage becomes much more secure and expressive.
Happy Practicing,
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Heather Kaye Broadbent is a concert violinist and founder of the Broadbent School of Violin Artistry, where she helps violinists develop beautiful tone, refined technique, and deeper musical understanding through guided study, online courses, and private instruction.
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