Seventh Heaven: Introducing an Interval Full of Benefits

By Scott Flavin | From the January/February 2025 issue of Strings

While sevenths are encountered in repertoire (for example, in “Somewhere” from Leonard Bernstein’s West Side Story), the interval is still very often overlooked. And hardly anyone plays double-stop sevenths! To ignore them, however, would be a mistake, as there are numerous benefits to practicing them.

Practicing double-stop sevenths affords several physical benefits to left-hand technique. As the span of a seventh fits comfortably within the hand in one position, it is physically easier to form a consistent and more open hand frame, facilitating easier playing of other intervals, including octaves, thirds, and fingered octaves.

Octaves
A challenge in playing octaves with consistency and physical ease is finding a balanced left-hand position. Sevenths prepare the hand for the open hand frame needed to play octaves well without causing undue strain.

Thirds
Sevenths consist of the same fingering combination as thirds (1-3, 2-4), but because the weaker third and fourth fingers are placed on the higher string, there is less of a stretch and greater physical ease. This also prepares the hand for the larger span of thirds, reinforces the fingering pattern, encourages the use of vibrato, and trains the fingers to release during the shifts from 2-4 to 1-3.

Fingered Octaves
By using the same finger pattern of fingered octaves (1-3, 2-4), sevenths prepare the hand for the extended hand position required for fingered octaves with a more comfortable, smaller stretch. Additionally, the practice of playing sevenths helps improve the coordination and fluidity of left-hand finger action without straining the left hand in the uncomfortably extended hand position of fingered octaves.

A Challenge: Tuning!

The interval of a seventh is among the most dissonant in Western music; therefore, tuning can be difficult. To tune sevenths, first isolate the two pitches while listening carefully; playing along on a keyboard or using drones can also be helpful. You will find that even a small amount of time practicing tuning will bring familiarity and greater sensitivity toward pitch.

While sevenths aren’t encountered that often on their own, they do show up in repertoire as suspensions, which is their main function in my étude Seventh Heaven. By listening for the resolution following these suspensions, sevenths can be tuned more easily.

I prefer to practice successive seventh scales diatonically; that is, within one key. I find it easier to relate pitches to one another functionally within one harmony. A structural element that can help with tuning is the position of the upper finger (3 and 4) in relation to the lower finger (1 and 2). For major sevenths, the hand is more open, so place the upper finger more on the pad of the finger; for minor sevenths, which are a half step smaller, place the upper finger more on its tip.

Basic Principles

For the optimal hand position in seventh double-stops, the fingers of the left hand should be in a natural and gently curved position. Unlike octaves, in which the balance of the weight of the left hand favors the lower finger (heavier on the first finger, lighter on the fourth finger), the balance of the fingers in sevenths should be fairly equal. This allows for greater freedom of vibrato as well as ease of shifting. 

As with all double-stops, avoid left-hand tension as much as possible. The left thumb should never squeeze against the neck or work in opposition to the left fingers but should at all times rest gently against the neck of the instrument in a natural position—not contorted or actively moved, just existing passively as a point of physical reference for the left hand.

Build Your Sevenths Skills

Practice scales in sevenths in all keys, using the basic fingering, which alternates between 1-3 and 2-4. Practice slowly, first as broken sevenths, then double-stops with separate bows on each note. As you get comfortable, gradually increase the speed, slurring in larger groups of notes (I recommend starting out slurring two double-stops, then three, four, six, eight, etc.). Focus on reducing left-hand tension, especially during shifting, which should always be flowing. Vibrato use will help release tension in the left hand as well. Do not squeeze your left thumb. You may want to label major and minor sevenths, as this affects finger placement, with major sevenths needing a more open hand position and minor sevenths slightly more contracted.

‘Seventh Heaven’ Étude

This étude should be played musically, with a beautifully rich legato tone and vibrato. Care should be taken to monitor left-hand tension; watch especially for smooth and connected position changes. Measures 26–29 are the same pitches as mm. 30–33 and are designed to help the player tune the double-stops more successfully. Be sure to maintain a flowing sense of left-hand ease in mm. 73–74.