Bach A Minor Violin Concerto – 3rd Movement Practice (Measures 82–90)
The third movement of the Bach Violin Concerto in A Minor contains some of Bach’s most brilliant violin writing, but certain passages require careful coordination between the bow arm and left hand.
Measures 82–90 are a good example. Fast string crossings and multi-string left-hand placements can make this section feel unstable at first.
In this article, I’ll show you a clear way to practice this passage so the bow motion and left-hand setup become secure and easy to control.
If you are studying the 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
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
💫 Explore the full course inside the Broadbent School:
Bach Violin Concerto in A Minor Guided Repertoire Study
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
When I practice or teach this passage, I always recommend separating the bow work from the left hand at first, so each element can 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.
My goal here is clarity.
I like to begin practicing this passage with what I call 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 important listening point is that the lower D must always be clearly audible. It should never disappear within the texture.
As the bow motion becomes 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 adding the left hand, I recommend deciding on your fingering.
For the D in measure 83, you can either play:
• Open D
• Second finger on the G string
Both options can work musically. Since measure 85 requires the G string anyway, either fingering may feel natural depending on the player.
To practice the bow motion clearly:
• Start with open strings
• Begin 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 motion feels comfortable, I turn my attention to organizing the left hand.
In measures 82 and 84, I encourage violinists to think of the fingers landing together, almost as if forming a triple stop.
Important details:
• The second finger sits across both D and A strings
• The finger should land squarely, with the nail facing toward you
• This helps keep the intonation centered across both strings
After placing the second finger, I then add the third finger while maintaining that stable hand 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, I recommend:
• Feeling the second and third fingers as anchors first
• Establishing the frame in tune
• Then adding 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 isolating these finger placements during practice can be 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.
Once this change is clean, the entire passage becomes far more stable.
The Proper Setup for the Triple Stop in Measure 90
Measure 90 contains a triple stop that many violinists find awkward.
The correct way to approach this passage is to remain in second position, rather than shifting back to first position.
Instead of thinking:
“First position with an extension”
I think of it as:
A stable second position with a leaning first finger.
To set this up properly:
• Keep the second and third fingers firmly established in second position
• Release the tension in the first-finger knuckle
• Lean the first finger slightly back to create the low first finger
When the hand remains organized this way, the triple stop can be taken quickly and cleanly without scrambling for the notes.
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. 105-116)
💫 Explore the full guided course:
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!
Study Violin with Personal Guidance
If you feel that something in your violin playing is not quite working yet, individualized guidance can often reveal the missing piece.
In private online lessons we focus on the specific elements that shape beautiful violin playing — tone production, bow coordination, intonation, and thoughtful practice strategy.
Each lesson is tailored to your playing so that the next steps in your development become clear and achievable.
For violinists seeking deeper progress and consistent guidance, lesson packages offer the most effective and economical way to study.
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.
I would love to hear from you…
What do you find the most challenging in this Bach Concerto in A Minor?
Leave a Reply
Want to join the discussion?Feel free to contribute!