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I know how to do a triple stop but I have narrow fingers which makes it hard to block the fifths. When I hear top performers play this piece, those passages always sound rather rustic and rough anyway. The problem is that if you have to contort your hand position to play the fifth then moving back and forth between the fifth and the tritone quickly can be hard.
Have you tried Bruce Berg's fingering? Now the trick is to find the best configuration to play the fifth consistently before adding the other intervals. You may have to distort the hand out of frame to get the other intervals in tune. It all depends on the shapes of your finger tips and the proportions of your fingers, hand and arm. You may also need to press the strings harder than normal. Just remember to release the fingers to the surface of the string before each chord change.
Work on finding G-D, then place C and Bb. Then grab C with G-D, but prepare the configuration before placing the fingers. Then work on shifting from G-D configuration to D-A configuration. For me playing G-D with 1st finger is pretty normal but to get the D-A in tune with 2nd finger I have to kick my elbow to the left and kind of roll the fingertip to it's right edge. Find your best configuration and repeat this left-hand, double stop string cross.
In this context I would leave the configuration to favor the fifth and contort for the tritone. Play all chords 2 and 2 to establish the fifths, playing the fifth first. Then play the moving notes in double stops. As with all double stop and chordal playing, find all single note shifts and work those separately before adding double stops to the shifts.
To train double stops and chords it's important first to establish the two settings of the hand. With the addition of each finger on the higher string, the elbow can rotate slightly to the right: 5th, 6th, 7th, 8ve, 9th, 10th. With the addition of each finger on the lower string, the elbow can rotate slightly to the right: 4th, 3rd, 2nd, Unison.