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lxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx S l M AN D L l x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
X
NEW METHOD
x
FOR STRING
BASS x x x x x
Newly revísed and edited by STUARTSANKEY
x x x x
PART l
x x x x x x x
x x x x
x x x x x x x x x x x x x
x x x x x
No. 3020
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X
í l
I N T E R N A T I O N A L MUSIC COMPANY 5 1 1 FIFTH AVENUE
x
NEW YORK CITY
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Prinled in U S.A.
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Franz SimandPs New Method for the String Bass was first published in 1881 and hás been used throughout the world probably by more students of the instrument than any other method. The excellent quality of teaching material in this book hás helped to develop countless numbers of fine Bass players. Certainly no greater tribute than this could be offered in praise of this work. The progress of Bass playing in the eighty years since the first publication of this method made certain revisions and additions necessary. Hence, is the present New Edition which contains the following importam features : 1. A SIMPLIFIED SYSTEM OF N U M B E R I N G THE POSITIONS. The original edition of this method, as almcst ali other methods, dcsignates a position as an intermediate one if the 4th finger on the G String falis on a note which is a chrcmatic step in C major. This was an unnecessary complication. The conventional name of the lowest of the positions, the so-called Half Position, hás, however, been retained to preclude the confusion that might have resulted from too drastic revision of a widely accepted practice. I have observed that almost invariably a student forgets the numerical designation ofmost of the individual positions within a short time after completing Book I ; this is of slight consequence, providing that a complete knowledge of the notes contained in each position is retained. However, Half Position and First Position, being the most frequently used, are the two positions in which almost ali players associate the actual notes with the numerical designation of the position. For this reason, I have decided not to rename Half Position as First Position, which also would have necessitated changing First Position to Second Position. By accepting the convention of Half Position, the numbering of the first three positions remains unchanged. 2. FINGERING OF THE EXERCISES. Here the purpose was to eliminate unnecessary shifting and to make the student aware of the many possible choices available to him. The fingsrings which are to be found in this book are offered as recommendations and may be freely altered by the teacher. The fingering of só many passages which the player will come across can be handled in more ways than one, and the student is urged to become thoroughly familiar with the various possibilities available to him. With a complete knowledge and command of ali the positions, he will be equipped to decide which manner of fingering is best for him. This edition hás attempted to enhance the studenfs awareness of the choices which are at his disposal in many instances. Often alternate fingerings have accompanied the exercises ; there are times when quite similar passages are presented with differen: suggestions on fingering;and i n P a r t l I I two methods ofdealing with sequencesof thirdsand sixths arealternated. 3. NEW EXERCISES. Throughout the book new exercises have been added ; especially in the beginning and in Part IV (Bowings), which hás been expanded by the addition of further examples and short eludes. 4. CONCISE PRESENTATION OF BOWING TECHNIQUES, ORNAMENTS AND ORCHESTRAL EFFECTS. In Part V exercises pertaining to spiccato, portato. jelé ; also Irill, mordem, turn as well as tremolo, pizzicato, col legno and ponticello are brought together. This is followed by an APPENDIX which oflers a brief outline of such optional fingering techniques as extension positions and the employment of the third finger and the thumb in lower positions. The revisions and additions that I have incorporated into this Method are offered with the sincere hope that they will help the student to achieve mastery of the String Bass and that they will be instrumental in continuing and expanding the usefulness of Professor SimandTs Method. STUART SANKEY
M
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Preface
3
Illustrations
4
Explanations of Symbols
5
PART I. THE POSITIOXS Exercises on the Open string.s — The Half-Position and the Other Eleven Positions — The Major Scales
6
PART II.
MINOR SCALES AND EXERCISES
46
Introduction of Legato Bo\ving PART III. INTERVALS AND EXERCISES
54
Thirds — Fourths — Fifths — Sixths — Sevenths — Octaves Chromatic Scales — Exercise on the E String — Shifting Exercises — Exercise in ali of the Major and Minor Keys PART IV. VARIOUS EXAMPLES AND COMBINATIONS OF BOWING PART Y. SUPPLEMENTARY BOWING TECHNIQUES. ORNAMENTS, AND ORCHESTRAL EFFECTS Spiccato — Ricochet — Portato — Grace Notes — The Mordem — The Turn — The Trill — Tremolo — Pizzicato — Gol Legno — Ponticello — Glissando Exercise in Yarious Bouing Techniques — Legato Exercises on T\vò Strings — Exercise in Broken Chords
73 84
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APPENDIX I. OPTIONAL FINGERING TECHNIQUES . . . . 103
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The Extended Position — The Third Finger — Bridging — The Fourth Finger in the Higher Positions — The Thumb — Retaining the Fingers in Place — Combining these Techniques
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APPENDIX II.
ORCHESTRAL EXCERPTS
114
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1-3. Position of the right hand, German Bow. 2. Down-bow. 3. Up-bow. 4. Position of the right hand. French Bow. 5-6. Position of the left hand, Eighth Position. 1. Position of the left hand, Ninth Position. 8." Bridging" with the fourth finger, First Position (see Appendix I.) 9-10. Position of the left hand, First Position. Notice that the distance between the second and fourth íingers is no larger than that between the first and second ; that the t h u m b is píaced along the left side of the back of the neck of the instrument;and that the thumb is opposite the second finger. 11. Position of the player in performance. Notice that the weight of the player is equally distributed on both feet : that the elbow of the letl arm is held in a relaxed manner, lower than the shoulder ; and that the bow is held parallel to the bridge with the stick turned slightly towards the fingerboard.
. ,._ (Posed by Gary Karr) SYMBOLS USED IN THIS VOLUME PI Down Bow Notes included under a bracket i—
V Up Bow l are to be played in the same position.
h. P. — Half Position.
VI — Sixth Position
I — First Position
VII — Seventh Position
II — Second Position III — Third Position
VIII — Eighth Position IX — Ninth Position
IV — Fourth Position V — Fifth Position
X — Tenth Position XI — Eleventh Positicn
G
1 to be played on the G string
A
1 to be played on the A string
D
1 to be played on the D string
E
1 to be played on the E string
O — open string
l — first finger
2 — second
O l — as a harmonic with the first finger
finger
3 — third
finger
4 — fourth
O 2 — as a harmonic with the second finger
O
3 — as a harmonic with the third finger.
finger
PART I. THE POSITIONS. Exercises on the Open Strings. Use the rests between notes to change the position of the wrist and hand from down-bow position to up-bow position and vice versa ; also be sure that pressure is maintained by the bow upon the string during the rest. D String-
A String-
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On the G and D String-
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On the A and E String«-> <•)• /i J. ./ (.
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On the various String-s
4.
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-O-
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Exercises on the Four Strings in Various Rhythms.
1.
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^ In the following exercise, use a smaller portion of the bow on the quarter notes than on the half notes.
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lower half of the Bow
upper half of the líow
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lower half
upper half
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Start this exercise in the upper half of the bow : again, use less bow on quarters than halves.
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G
Exercíses on the Various Strings. 11 is suggested that the exercíses on this and the following two pages be played at first pizzicato —that is to say, plucking the string and not using the bow.
1
On the G Stringh. P. • í'•)• V 14 BVI \ -1
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On the G and D String-
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While playing open strings, keep the hand close to the string, ready to play the next note.
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f" Do not raise the hand from the G string L While playing the open D string
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Do not raise the fourth finger : From the D strin°; rturing these 4 measures L^ o9
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On the E Stringh. P.
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Exercises for Consolidating the Strength of the Fingers. Practice No. l until it can be repeated indefinitely without tiring the fingers ; then proceed to do likewise with No. 2, then No. 3, and finally No. 4. Depending on the initial strength of the left hand, this maytakeseveral days or even weeks to achieve ; the student should proceed with the lessons in the book, returningto thlsexercise each day. In order to obtain maximum benefit, press the fingers of the left hand as firmly as possible, and stop to rest when the fingers become tired. . . 2 . 3. 4.
1.
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Exercises for the Connection of the Four Strings. D
11.
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3020
* ít frequently happens that after ending a phrase down-bow it is necessary to begin the next phrase also on the down-bow, although there is no rest in which to retake the bow. In such cases a short pause in the sound will occur during which the player must take the bow back to the frog, but inasmuch as it is at the end of a phrase, the slicht break will not matter.
12
The First Position (I) In moving one-half tone higher from the Half Position, the hand is placed in the First Position, which contains the following intervals : — On the G StringOn the D String-
a fc}«
i,
—PÍ P
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A
* p
P 1
A sharp
B
A
On the A StringC ,
or: .
1
2 .
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•-£——6 — —té— -jw P ^ B
B sharp
2
1
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C sharp
b-p-
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B flat
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or:
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I
4
frp
fé
"I
I
C flat
1
K
'
1
fc-^ H
1
h=r1 JM
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I
F flat
or:
4
1
1—
K sharp
G sharp
1 1
F
G flat
2
4
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I) flat
1
IHS
E sharp F sharp
On the E Stringd
4
C
2
p
H
hfj -»P1 '
C flui
1
G flat
A flat
G
Exercises on the Separate Strings. On the G String6
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L
y Ly 1
ft
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4
.tis
6
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ir
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Q
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T
O
Hn n
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4
On the D String' —p—9-6—^!——ti"— ii• 9-^^-
/ a1 <->:/^[ y l yn
tfr3
4
'2
9
9
1
2
4
2
On the A StringI
pç —--"
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h
1
J. *fp —&p "
—
J ©
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Exercises for the Connection of the Four Strings A E A .D +_. i_±_.
D 4
i— ^S 1
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(jfl
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On the E Stringl
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m In the following exercise, while playing each note, place the finger which is to play the following note in position to play that note. Whenever possible this procedure should be used, for example, in measures 11 and 12 of exercise No. 3 above. Also, while playing open strings, have the fingers ready to play the next note. Practice this exercise very slowly at first.
J ir *T u *[' i
14 Exercises in the Half Position and in the First Position. I
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The Second Position (M) The hand is placed in the Second Position if it is moved one-half tone higher than the First Position. It embraces the following intervals : — On the G string"
or:
<•)• T
f
T
15 flat C flat
T
C
A sharp
On the A stringC ., 4 1 W 1* -,X/•
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~, 1 1 b n "y
C
D flat
or: , 1
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rd 4nW
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D
T
T
li
l f rí
B sharp C sharp
or:
T tf
l
B sharp
F
G flat
írp tq: (i
K .shar.n *
On the E strin§:
d
4
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jj r. U
On the D string6
*
1
2 ..
C double sharp
G
.
F sharp '
Fdouble shar]i
1
2
1
L
A flat
"f
n
or:
4
H K r.
n9
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A
sliar])
Exercises on the Separate Strings.
-if-i 4
4
l
On the D string" /
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On the G string*
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On the A string-
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On the E strineh II -*4v-p—i
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16 Exercises in the Second Position on ali the Strings.
r,, f>V p o [P l-U l 4fJ • t * fl lí3 iT |l V f II l» P | 4 2
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Exercises in the First and Second Positions. C Major scale . II
I Position fe)t
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17
Exercises in Shifting. Practice these exercises carefully following the indicated fingerings, which admittedly are not the most efficient ones, but are designed to .give the student practice in accurate shifting.
I
1.
11 o pp '—
p. t p ' 1
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T \—r —
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Ti r* i ——«*-— i — i '» i H
Exercises in Various Rhythms.
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1. 2
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18
3.
3020
A-Play in the upper half ot the bow.
B-Play in the lower half of the bow.
19 The Third Position (III) On the G String-
On the D String-
b
or:
>f
p
r flpT jtf-r „p li
Dflat
B
'
C flat
C
B sharp
C sharp
G flat
or: í, V í—J*—^-3
2
4
1
b K 9
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r-
D flat
2
C sharp
E flat
W
-&•
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A flat
Fsharp
F double
sharp
G shan) ' *
1
or:
2
4
TÍT"
9-61
1
2
4
»t
fr s
\TT
A flat
D sharp
C double
sharp
A
jj_
B flat
éT-
X O1
G sharp
^ A sharp
sharp
Exercises on the Separate Strings.
On the G String-
* IUI
4
tf^ =ST;
'H
I)
G
On the E String:
On the A String: í
or:
t_: 1
1
-\
r>
1rf
n •••-
^j
e-
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f i
i
2
On the D String/
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y (* f r—
L
Q
kfcj
On the A Stringg El «•):/. p ^rp
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rk
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r
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p l
1 l
u
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On the E String-
h
Hl
4— ^=R=~ -^ ^ r; —-tKJ
w l
1
1
r; 2
-tHi<
r.
^
r^^H—
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1—!U»
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Exercises in the Third Position on ali the Strings. Cii ~íT
ft
9
1
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~f-h _i— —
!
1 r.
Z
li
•>
h^>— ^i ^—\> r —' . —i—H•
t— ' ±\ <'* ^p u L
9
1
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4
2
3020
4
4
1
2
4
2 4
2
2
4
4
2 4 2
2
l 3
4
4 2
22
4
2
4
20
Exercises in the Third Position in connection with the previous positions.
4
2
j
l
D flat Major Scale III II l
4
a 4 l
4
4
14
4
1
2
4
4
II
l
1
4 14
2
4
l
1
414
4
l
^
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4 1 4 2
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4 1 1 4
1
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1 2 1 4
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1
4 1
4
1
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1
4
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1
4
4
III
4 2 1 1
l
1 4 1 4
1
II
4
2
4
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1
4
1 4 1 2
1 . 1 4 1 ,
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a 1
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J
2
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4
í — f1 2 4
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l ^
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In keys of three or more flats or sharps, a choice of fingerings is frequently available. In this volume, the fingering which will necessitate the smaller amount of shifting hás been placed above the staff. If the D flat scale is begun with the first finger, it is not necessary to make a complete shift back to the II Position to play the F ; this notecan be played by pivoting the hand on the thumb, which remains in the same place. The entire scale may be played without tnoving the thumb, bui
21 A ... j-
nai iVli nI 4
f
C
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h. P.
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In the above exercise, the student must be carefui to play the ninth measure and ali similar measures with short but smooth strokes of the bow, especially on the eighth notes. However, in such measures as the second one, a fair portion of the bow must be used on the third beat in order to retrieve the bow sufficiently to play the next measure. In this case, be especially carefui not to accentuate the third beat. 3020
J
22
The Fourth Position (IV). On the G String"
On the D Stringor: '
v f bf *f J
D flat
,12
1
D
B sharp C sharp
^rp1"
On the A Stringor: 1
2
4
Q
l/ rj
vV
K flat
2
_i
G
A flat
t,* -^ A
i ^
,2 fa
FSh°Uble
sharp
4 xf;
G sharp *
G
doiib^ sharp
M ^
n rj
1
f
\
.
3
™
=*
,.
Dsharp
^
A
Rflat
«P
4
1
2
=f&
W
xc
fc
::'<0
.
B
,
GS double A sharp
4
Ado^
m^
Exercises on the Separate Strings. On the G Stringe LIV l
tf
f T
«, j
_x
2
/
-
4
T i r—r r i r -—i—^p^—i i T—r r r » i * If^jlf-
2
x*-!|}tf tf j},
jl-e-
f
jj.jU-
f^ftp
x f .h!j f -jU.f
l
On the D StringIV -*»
On the A StringIV
h
T r i T r i»r
On the E StringIV
^3z:
~rr4
2
l
Exercises in the Fourth Position on ali the Strings.
2
3020
ۥ ^
or:
4
^=^
Cg double
flat
F
L2 »P
d 1
^f/ D
i »
On the E String-
C ^ J-
or:
*
*r ¥ T=»i
1
C
6 1
1 2
4
4 2 4 1
i 4 4 't
2 4 4 1
^
23 Exercises in the Fourth Position together with the preceding positions.
TV
In
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2
4
1
4
v
2 1
III
4 2 4
1 1 4 2
1 2 1 2
IV
2
4
4
l
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4
1
2
4
IV
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o
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4 4
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4
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rnrrrrirrrrirrrjirrjrirrjjirjjj D Major Scale -o-
o O
-O-
**
IV
III IV
2 4
1 4 2 4
.
m
i
HE
íP
3020
1 4
2
1
4
4
1
4
4
1
4
2
4
3 2 4
1 4 2 4
1 4 1 4
2 1 4 1
4
4
1
4
* Here too, pivot the hand without moving the thumb. This is a very useful technique when movingfrom one position to an adjacent one, and is especially appropriate af this spot, as immediately after the half-shift to the III Position a return is made to the IV Position; furthermore, a half shift to the next lower position is slightly easier to do with accurate intonation than a similar type of shift to the next higher position.
1
4
24
6.
o
l
l
4
1
4
!
Q
4
*
1
l
4
l
A Major Scale
^W -^ R
Tf
—-õ-—n
0
"
*-*——°
«
4
4
a
—f,
ri
e—r J 4 ;
0
n
Q
41
l
h.R
i): fl jj
—
-^— tt n
0— *» 4
__
„
o
Li
õ
1
«
*
o
0 1
a
1
,
1
^ '
« •'*
o 1
^g ^ ^
7. 0 1 4 0
'»
3020
;; 4 l
4
'
l
1 4
1
\*
1 4
4
2
-'
4 4 1 2 1 4
l
-'
' 1 1 ^ 1 2 4 1 4 1 4 4 1
4 4 1 0
4 1 2 4 2 1 4
o
l
25
The Fifth Position (V)
On the D String"
On the G String-
or:
\>à
\Q
D flat
v&
D
|J.p.
E flat
x -p- ff -P
C sharp
Csf,°"ple
rf"
L2
A flat
A
I> sharp
1
2
4
i^Jir-T i5tz
b? sp5
P
1
2
to w
ãTõ *£-
I) sharp
F
l)^le
.J 1 On the D String-
i
2
shar
*yít?3
í
'*
4
—W
-^5»
jjTr
^5)
E sharp
B flat
4 fa
*
^ sharp
1
A douMu
Asharp
B
*
_l
1
w
tf
g. rJ
ít^. n
on l 1
,i •j fB
X V
faz
-«õ
Jhí
í-f^
P
br)
rn
1
H
H—-H
1
-f— H
4
X r
Tl ^ tf
i
G shaiji
or:
4
r
-^H—1—H / i»
44
2
Exercises on the Separate Strings.
On the G StringV l
4V y/• /^ i^
B flat
d
or:
E
i1
On th<; E String-
On the A Stringc
E flat
trt
On the A String9 V fcK /* ^ P r>
*r
4
r
2
'l
'
U^
ff '
L „
t„ l*-'
p fa
\rr>
'
bn
'
'
c
r
4»
'
On the E Stringh V j
c
r
4
2
4
' b c
Dcíic
í i ^ h c
H
' t i
1
Exercises in the Fifth Position on ali the Strings.
- J (' ' 4 -Ç-p—C T
X'P'
TP
' 1 ' 1 1 l U |T ' 1 '—'—H—1—H—W—r 2 1
1 k-P
1
o -*•): ,i rn—-+ *-• ^/- l^ 1 j
^E=i^^_TE^ ! ^^ • ^^——1
3020
1
4
x
,j
f '
1
4
^ 1
4
itt P
l? Ê f"
4
2
, ^9
t
¥ '
4
1
i ^'P'
|
L ^Lf2
1i
l
4
^ -•• 1
i ^9
^
L ^I£»
IP "P"
:
1
•
-t 0 1-
2 i X"P"
9
-
4
- "rn *
1
i ^9
: -
2
2
j bfi
4
r- -
Li
x
2
n
,
i -; 1
rr>
rn•*
1
i
4
(9
4
^ 1
~
i
9—9
1
fr-g
^
íQ
,
1
4
,—J_
ko 4
—m _^
1 J
26 Exercises in the Fifth Position together with the preceding Positions.
Alternate fingering which may be used in descending
4
24
l
42
4
24
l
2. 4 0 1 1
0 1 4 1
4 1 4 1
IV
V
4
l
Q
1 4 2
4
*
h.R
4
4 4 1 4
4
0 1 4 1
h.í
1 1 4 2
4 4 1 4
l
4 0 1 1
4 4 1 0
/,
4 4 1 0
4 4 1 4
4 0 1 1
4
1 1 4
v i2v 1 v1 4 i: ívR A ^ ^ 2
4
4 1 4 1
0 1 4 1
4 1 4 1
O
4
h.R
4 4
l
2 4 1
4 1 4 1
1
4
4 1 4 2 4
4
4
1 . 2 4 1
4 1
4
l 2
r i Lr 4'J i Ji ^ r
i i
r
1
3020
4
2
4
4
1
i
27 Alternate fingerings for the B flat major scale.
V -e
II 331
-O-
4
O
3OC
3CE
h.p.
IV
o
-o-
JDC -»
II «»
Another fingering which may be used in descending:
ápS
Tr-rr
4.
V
III —O—
h. R
—O——«J
í
4
-o-
f
— 1 — 4—
2
4
O 1
Ê r-rrircr irr
i
h.E
r
3dr?iM 4 1 1 2
4 4 1
4 1 2 4 4 1 4
4 4
l
v
V* t," 1
U_|_j
4 1T"V
1 1 1
4 1 2
2 1 1
4 1 2
4 ~ > 0
m
4 1 0
4 4 1 1
Tf M l 1
4 4 1
TT-T
P f —m M—) i*~P —1— ' —H
iv h.p.
1 1 2
0 4
1 1 1
4
2
l
4 2 4 1 4 1 0 1 4
l
4 4 1 1 4 2
1 0 4 0 1 4
4 2 1 1
2 4 2 4
2 4
4 4 1 4 1 0 4 0 1 1 4 2 4 4 1 4 1 0
4 4 1 4 1 0
4 1 2
r.
—1—r — —o— '
28
The Sixth Position (VI) On the G Stringa
On the D String-
L4
Z
' l
9=^ f T T n
E flat
,2
4
f f
E
I)
T
D sharp
D
1
|1—P—T—Y 1
double sharp
A
On the A String
e 1*
1
2
p
P
E
F
L2
l 9
L*
1
B
A
B flat
4 V X-e 1 9
P—Ih As
h-P
^f
0
On the E String-
or:
4
G flat
1
2
d
4
p
'173
fP
E
E sharp
F sharp
-
.
2
é
"
B
C
4 1
or:
ra ^ r D flat
, i
à
k
B
B sharp
C shar
Exercises on the Separate Strings. On the G StringVI
£ f
f
Q
fre
ê
••£•
On the D String VI
É
Ê On the A String 9 VI t): ;-; r f9 1
C
íi
f
p
~fle
friP
p
r '•i
«
Íe
-
1
T
4
A
On the E StringVI J
J 1
2
Exercises in the Sixth Position on ali the Strings.
r 4
4
9 4
4
4
f
4
È
r i» r *r l
r 3020
4
fed! 4
2
2
4
4
4
2
p
4
4
4
29
Exercises in the Sixth Position togetner with the preceding positions. VI - 1 ^ *
I 0— _ w~ p— •
^TTT
2
i
n
2
=F=
0
1
2
^
r—'— 4
_j
* £ * * . _
_
H
4
1
•
M— *=£=.
1
4 4
1
1
4
__ —
f-f-
9
r-Jr-H
0
rrrr-. VI Hl -, -«•
,
,
III
2. 2 4
.
4
p-.
• i fift
f3
I
' 1 4 1 L- 1
1 4 1 2 1 4
4 1 2 1 2
\[I
IV Q
—f
1 0 1 4 1 4
4 1 4 1
1
9—
i ífi
1
rfí1
4 4 10
1
0
•-»~| 9 — p—
r t~ 73—õ— -*-»~ r-r~ fj ;=t=
4 1 0 2
=M= '<
•p~P
»-
4
•»
^
m
m
4
4
m
m
m
O
l
l
rffnr - i i r f r r i r r r f i r f r E
áâiè 1 4
1 0
l
4
4
1
4
0
.
1
0
1
'(
4
t
4
l 1
i£ —
wí_jf—P j— •—r-.
|
E Major Scale .
,L
—
f
-—i—r
FF1
1
9—
,
1
P
P J
2
4
4
l
*
'
-O-
o
i
III
4. ^ 2
'j
l
2
J
^
1
''
h. R
h.R
h. R
IV• *-•* l ~ *
l *
4
iP^F^P 2
i
^
4 i 4 2
«
III
1
2
. —-
J..
4
1
m
V1
4 4 1 2
4
'
vi
Ê
4 2 4 l
~rr~
iv TTi 1L*_»
l 4 4 l
4
i
4
v vi 4
p
33C
l
V
IV
i
™
*
VI
4
,
*
"f-
-O^ »»
4 l
t
°
4
P
.
2
-O-
B
.
III IV
IV
I
r r pr —
f —» 1
t—m
4 4 l
4
l
* 4 i
-'
'j
4
l
rv
IM
'i
4
l
l 4 l 4
i
'
2
1
4 l
'i 4 l
4
4
•l • P
4 4 4 1
B Major Scale Í3r3Hhz±^rjt f í
2 4 2 4
t> t
—n 4
or:
^
IV O
1
i.» 4
4 4 l
° , !„
l
4 l 4 4
l 4 l
4 j 2
IV 4
—f-J O— _
2 f jj
4
IV
2
l
'
*i
0
0
0
0
o
Jj
0
4
„ SJ
•1
^.J
— n—
1
-*
4 —n 1
III 1 ti— a
'i
* II 1
1
s
h.R
I
III
"
~
o
í ^-' ij
4 c>
i
~
r
2
j
2
u 7^ 1
4
l
IV 4
—o —
=3=
h.R.
4 4 l
-
2
I
«>
*»
1
4
O 1
l
30
Ê
5. 2
2
4
l 4
.
4
l
4
'l
4
1
l, 2 4 l
2
1 4 1 4
l
VI
I f*
h.I! 2
l
1
1
4
*.
l
t.
4
1
,.-&••?•*
A
4
1
4
4
1 2
/.
-4
4
O
/,
m -f- m -
n
-L 1 —i—rr -^4 -1—ii— ——o— H—1i—1— -H« P%dP—
2
Y-— 1
4
O
•&•
A
4
4
4 4
/.
1 4 1 1
4 l *1
21*14 4
1.4 4
4 1 4 2
1214!
l
4 1 1 4 2 4
2 2 4 4
"^
l
4
h.R 4 -o-
í»
7.
4 4 2 4
1 4 2 4
1 4 1 2
1 4 1 4
1 1 4 1
2 4 14
1 2 4 2
*
i 4 i m~~''VI 4 y ri j} -^
f— H
f
•
f tf flJ1 *—1~ ^1— 2 4
vi v 4 J* ^^* C i^J
./ *0
3020
TJ
*
:
'l
4
H—
J
T=H
1 4 1
4
1
-K i
L -&-
'••
rt
2
4 i
VI
vi
• *—m—l
• f ,— e —
f r i- —ir— H— J—r—
ff W—\—\~
1
1 4 2 1
PPPP1
y=M 2
4
4
1 4 1
/.
1 1 ^ ^
„.
hfí—V-—1H -) — f>-*H
-=t=
1
2
4 1 2 1
1 4 2 4
A
l
1
> 1 *-
H
4 1
l
1 4 1 2 l 4
1 4 1 2 1 4
2 1 1 4 1 4
1 2 1 4
4 1 4 4
4 2 4
2 4 2 4
h.R I
•*
4
_ ^ _
l
4
1 4 1 2 T
l
FH—FH•
1411 4241
1
4 2
VI
1'i
4
V
2 4 4 1
H 1— _i
1
4
l
^Í~É•
1 4
4
1 2 4 1
2 1 4 4
4
f i ?$?r f f r - "- f —P> .f i•—•( f P FÍÍ-M— I I I i i r FR 4 FM=IH—P— —F=F v
-t-
1 2 4 2
4
ii
4
4 4 1 4
—, y VI v
ff 1 ri—
4
o
1
• í í +-l -|
I
-HP i ' -J1
P—
-« -f-
h.R »-J i .
—Pn
* The usual manner of playing the second beat of this measure would be to play the two eighth notes, G-sharp and A, in the same bow , upbow. It is up to the discretion of the teacher whether or not to
—i~\-
-f-i-
31 The Seventh Position (VII). In thís and the following two positions the thumb, which up to now hás been placed either along the back of the neck or slightly to the left sid; of the bick of the neck, now changes its place by gradually moving much more towards the left side of the neck. On the G String-
On the D Stringor:
CT=f
or:
1— 1
E f lat
K
1— l
F
D sharp
l
Dsharpl6
L 1
E sharP
B flat
Or: 2
ri
T3
.9=—p
TT=
F
L*
B
C
¥= A sharp
d 2
1
*
4
«f —-£?
W
G flat
1
"• '
TT
A double sharp
R
sharp
On the E String-
On the A String-
C 1
1
3
G
i2
—fr-
E sharp
—
F sharp
or: 1
2
4.
j
"p
•
2 1
1
j— y— ^
n
^— 1
B sharp
f lat
4
d J *'• C sharp
Exercises on the Separate Strings.
On the G String
VII
B
f
f
f
4
2
|T
^f
lf
f
4, (. r V i 4
f
|f
T
l T
T
i f
4
Onthe D StringVII
y c? '
lT
_) f
i
p—i «
t 1
JP i r3—i it —'—'—
f t1
^ i ^ri i—
r—i *ri
S
Hh
l
On the A String-
9
VII
9 t): /* ./ (/ |r2^
rItn— fi
G
*1
1hn
n
s^ffi
(9
4
r. l
1 mi9—$~Pr ——^
\
^
On the E Stringh VII
r t: à
HhP—*!j
&
¥ bdf,
—<5Í
N^
CT
v~&
xrJ
l_l[£,
í]!jr
W«=l
F
Exercises in the Seventh Position on ali the Strings.
2
4
2
2
4
l
4
2
r ir fifrh4 4
l
4
2
4
1
4
1
2
4
4
2
4
2
4
1
4
1
f f ir f i f f; Ê 4
l
4
4
2
4
4
1
1
4
4
-Ol
2
32 Exercises in the Seventh Position together with the preceding Positions.
II
1. H 1
4
1
0
1 ^
fí^^hF^^^
•—•
4
1
4
4
14
1
4
4
12
14
1
4
11
1•—1
B
•
•
j
F3=MI
2
42
42
4l
41
4l
41
21
44
l
r r i^rr if r ifrf ,f f ,fff ,f f
3. 2
1
1
4
l
IV 1
0
1
4
1
2
4
4
II 4
2
VII _
IV 4
1
1
4
1
1
4
1
1
4
-TV
4
1
1
4
^
1 4 2 4 4
1
4
4
2
l 2 l
4
1
2
1
1
4
0
4
I
o
33 F Major Scale
7.
a
4 1 2 1
•41
4
4 1 2 1 0
4 1 0 i
4
(v v)
"ÇT
8. 3
IS
1
4
2
4
1
0 4 1 2
1 4 1 4 2 4 1 4 1 2 1
l
h.R
jS 1 4 1 2 1 2 1 4 2 4
l O
4
1
4
4 2 1
4
2
1
2 0 1
4 1
1
4
1
4
1
4
4
1 4 4 1
1 0 1 1 4 2 1 0
i
l
4
o
4
1
1 4 2 4 2 4 1 2 1
2 0 1 1 4 2 1 0
4
1
2
1
0
1
1
2 4 4
4
1
2
4
1
2
4
2 0 1 2 1 4 2 4
2 l O
l
* See note, bottom of page 30.
.
The
Eighth
Position
On the G String-
On the D String-
b
or: l
i
U
a
*•
f
'f
^
f
K
K sluirp
F sharp
E
l
or: l
f: F
,2
,.4
,1
C sharp
C flat
,2
ÊiilÉ G flat
B
B sharp
C
On the E String-
On the A String-
C
(VIII).
2
or:
It4
,
1
.
or:
2
4
EEl?
g
F sharp
Fs ha" le
G
-shilT
G flat
G
A flat
C shar P
^har ')''"
D sharP
D flat
D
Exercises on the Separate Strings.
On the G String
f ,t PT ,*F fr.r ,f f b f .ff f M 4
1
2
1
2
On the D String-
r T r if r l
4
Ê
^Ê
l
On tho A String9
-' ^
1
—X i
1
[fr
O
r—^
p
©— rm 1Hfrr1—i—
—\
r—ti
1 [t
1 r? rt
n
1 s
rp
h-p
4
On the E StringVIII
r iT r
^ Exercises
4
4
1
4
in the Eighth on ali the Strings.
l
4
2
Position
1
4
1
4
4
1
i
r ^
»p'
ai
35 Exercises in the Eighth Position together with the preceding Positions.
r r .T f
l.
1
4
2
4
l
4
2
4
1
4
1
4
2
4
r .frirrifr r .ff f T i f y .»rfp=F
É 1
fr f . f r
2
1
4 2
1
4
2
4
2
1
4
1
4
4
4
1
1
2
4
4
l
1
4
4
4
4
2
2
4
4
2
4
4
2
1
4
F sharp Major Scale -O-
O II O
- . 4 1 4
4
VII *
h.E
2
4
4
VI 2
4
l
4
l VI 4
4
f ffif f f i f 4
2
4
1
2 II
1
l
2
1 4
l
4
4
2
4
O-
í
~ l h.P
h.R
X
4
4
2
1
l
4 I
i
r rfirrf
-e l
4
-O-
hP n'K
IU
l
«
i
III
2
.,5-.-r
III
III
J_ IV
4
-o-
1
4
l
4
-Q-
2
1
4
l
'j
4
2
l
4
2
l
l
h-I;
/,
2__1
',
l
l ''
5. 4 1 1 4 1 2
4
4
1 4 2 1
4
1 1 4 1 4 1
'l
l
7 \
2
1 2 4 1 2 4 1 4
4
1 4 1 4
. . 4 1 4 1 4 1
4
4
1
2
1
4
l
4 l
'
'll
4 l
l
'i
'•
l
1 1 2 1 4 2
4 1 4
4
h.R I
*Another fingering which may be used in descending is :
n
Íͱ±L
V1
III
hl'
"**" ° " " y> n o „
I n I'
'
I
II
4
2
+
1
2
1
4
.
l
4
1
1
4
1
4
2 l 4
2
4
4 1 4 1
4
1 4 2 1 4 2
4
1 4 1 1
4
I 4 i
1
2
i
l
1
2
4 1
1
4
o
4
1
2
4
4 4
1 4 1 4
4 1 4 2
1
1
1
1
4
1
1
1
4
4
2 4
4
4 4
2
4
4
1
1
2
4
4 1 4 4
1 2 4 4
^
1
2
4
4
1
1 4 1 4
1
2
l
1
4
1
2
4
4 i
4
2
2
4
1
2
4
1
4
l
2
2
l
4
4
l
4
1
. 1 4 1
4 4 1 4
1
4
i
4
4
4
1
4
4
4
*
4
l
4
i
4
4
3020
I
*.
4
4 l
4
4
l
l
4
^T 4 l
1
l
2
4
1
4
2
4
1 2 4 4
1
1
1
2
4
4 1
l
- > 4 1 2
2
1
1 2 1 4
4
2
l
2 1 4
4
4
l
4
4
1 4 1 4
- l
\n -rrf.lt tt_. , L I
4 l
l
1
l
1 2 4
4 1 4 4
1
1
2
4
4
2
l * Alternatefingering:
1 4
4 8 l \
2
l
4
l
l
l
4
2
4
1
4
l
2
4
IV 4 1
2
4 2 1 4 4
4
1
1
4
4 l
4
1 2 4 1
1
2 4 l
t
l
4
2
l i
\
42^,
4
4
4
'
2
1
4
4
2
« ê
1
2
4
4
2
4
4
1
^^^
37 The
Ninth Position (IX).
In this and ali higher positions the íburth finger is usually not used, as ths position of the hand now makes it more practical to use the third finger. The note which occurs an octave above the open string need not be pressed but may be played as a harmonic, touching the string lightly with one finger only. This is most advisable when the note is approached or left by an interval larger than a whole step. On the G String-
"
'*
i F
On the D Strin«-
or:
\,'1
G flat
or: 1 2
G
. f lf
*f f
'f
Esliarp Ftil.arp
^í!^''6
C
G
A flat
^
1
—
^'
^
A
c
^
Gdouble sharp
ti ' *r f II
I)
On the E String„ l l2 ,S ' D
or:
., E fiai
0 3
1
frr3 r"
sp*—"^r3
C douhle . sharp
B sharp C sha 'P 1
:— 5nd
#75 p-p C douhle ' , D sharp sharp "'»'
>*-p» II .'louble . sharp
1
^ 1 ^h-
^
1
_|
E
-n
Exercises on the Separate Strings.
l£
f =£=4;
3
^ :
Fdouble sharp G sharp F
On the G String IX
-^-P -*-—^ — o
o y*>
D flat
0
o
f
P—
On the A String
or:
3
#Ê p—#£ ]_
^ j
^£ 1
i
'i
^
^ 1
0 3
—ã
kf
On the D
/ ÍY j* j \,/*
'''
i
1
-1
o
l
d
-4"—
H-ti
On the E String IX
3ÈEEf= \=\l
x-t»-
JL
-o-
1]
3
On the A String 5 IX i bei—vre> -4^ **!' /* — y i. •*—
'
4
z. rj
-
Q ?= =*ê=h- 11 "
1
id
j -V J
'J
V
•j
t i
*»
= ==d =E >—=j Mp=Myj==^ o
tn^— -
5-^=
:.] ^
-
n \
^
Exercises in the Ninth Position on ali the Strings.
f.ff/ffr/ffiff-fc^" i' 1 ip ^ 3 3
a 3
l
3
O
! O !J
\
3
p,
n
mrT l
PPf
f r . ir r f
O
l 3
3
—
38
Exercises in the Ninth Position together with the precsding Positions. IX
IV
2. 0
1
1
2
1
0 1 4 1
1
1
2
2
1
1
1
2
1
1
4
4
1 4
1
1
1
4
1
1
4
1
1
4
4
4
1
ffff.ffrf.f 3
4
'<• 4. S
1
4
4
4
1
f r*r ir |)
1
l
4
1
'
4
4
4
1
4
•nT"1
vi
1
1
fj
2
È 4
4
4
2
4
2
3
1
2
1
m 4
,'i
2
4
3
3
1
2
0
2
3
1
1
4
2
l
3
4
III
2
3
3
4
3
2
í
4
l
2
l
W
n
vi
2
4
4
l
2
í
4
I
T
G Major Scale
1
4
a
3
7. 0 1 4 1 4
«— 1 1 4 2 3
1 4
1 1 2 1 4
1 1 2 1 4
1 2
1 1 4 1 4
i l iTTEff ffifCff rl t iifFfrrffifffrr, .fffr r rfjg l II p l l 1^ r
1142.'J
24
121
4 l
3 4 1 4 1 4 1 4 4 1 2 1
4 'l
121
21
39 The student mustinot be content with merely acquiring technical proficiency on the instrument, but must constantly work towards making hisplaying musically expressive. The nuances indicated in the following exercise are suggested by the editor ; the student may follow them or substitute his own. It is strongly recommended that phrasings and nuances be carefully introduced in ali pieces which are to be played from now on.
v n
8. 0
1
4
4 2 0 1
.
1
4
1
4
3
2
4
P
1
2
4
l
4
4
1
4 4 1 2
diminuendo
l
O
4 1 2 1
1
4
4
1
41
2
4
1
1
0
4
1
4
1
2
1
4 0 1 1 2 1 4 2
1
1
4
2
1
3
2
O
ditn.
r
2 4 1 4 4 1
cresc. nbrino thc thumh nhove the strinss. só that fhe first fineer is oarallel to the second
4
^
]
l
40
The Tenth Position
(X)
Proceeding to move one-half step higher than the Ninth Position, we come to the Tenth Position. While playing the higher positions, the thumb gradually moves from behind the neck and is placed against the side of the fingerboard. Just how this occurs depends to some extent on the shaping of the neck and shoulder of the instrument, and also the length of the player's thumb. But generally speaking, in the Eighth Position the thumb should be placed on the side of the neck of the bass, and in the Ninth and Tenth Positions it is moved to the side of the fingerboard. As in the previous position, the fourth finger is usually not used. Most commonly the second finger is used to press the string firmly instead of utilizing the harmonic, but there are many instances when a shift to this position will be greatly facilitated by employing the second finger on the octave harmonic. The times when the third finger on the A String will be ussd in this position are exceedingly rare ; even rarer will be the instances when it is necessary to use the E string.
On the G String-
On the A String-
On the D String-
or:
or: or:
F sharp'J^'" G sharp
G flat
G A flat
C sharp Cs<^ble D sherp
D flat
D E flat
G sharp
Gsdh°"rble
A flat A
Exercises on the Separate Strings. On the G String-
¥ On the D StringX
=i ^
On the A StringTrn
M' f
Exercises on Three Strings. i
1
3
3
2
3
v(L
1
<*.
i
3
i
3
\>
1
3
3
3
1
*
^
3020
At this time.it is recommended that the student acquire and begin to study the 30 Eludes for String Bass by Franz Simandí?
41 Exercises in the Tenth Position togíther with the preceding Positions.
3
2
4
2
1
3
2
3
3
2. ^ 2
3
1
3
A flat Major Scalo TiT-lr-t
~ 1
, —»
*
4
*
- ••
s
2
"
í
'
3. t
l
4
~ ---
4
l
4.
l
2
1 4 2 3
2 4 1
'-1
. '
••—
4 4 1 4
l
4
l
"-
••"*
£mmí
frrifffÊ
4
'
*» *
l
4
1
/i
1
4
1
'i
t
'i
^
1 /i
rrifrrrfif
4_
4. S^thr^2
^
1
4
1
1
4
2
j
4
L f f f f .f r i r r 3
5
1
3
1
2
4
2
4
4
1
4.
l
4
l
4
l
4
2
4
1
4
II
4
1
2
1
4
1
3
4
l
2
l
4
1 2 1
4 1 3
2
ê £ f f 4
1
4
n r f f , f f fgLfef 4 1 4
ndl.
>
ff,fff,f-^M
Ê
y-1 "i b yz=^:
^
"•'
frPPÊP 4
l
--
^
4
1
4
l
flffflff1
2
4
2
4 V
1
4
1
3
1
4
l
2
1
1
4
2
1
1
4
2
4
2
4
frlt-T
Z
T.
l
T,
%•
T
J J 4 J J 'T*
R
Í
T
T
K
E
S
l
Z l i*M
l
l
O l
'9
S T I f r
t T T Í
í r S l 2 S
ti?:
í-
iMjpJiUJ^ 1 ^^^ 1 a T
2
I
ír
2
l
E t
» / * •
t-
T
t i .18
t-
t
43
The
Eleventh
Position
(XI).
is the final position below Thumb Position, and is placed one-half step above theTenth Position. In this position the instances when the third finger will be used on the D String are extremely rare. The octave harmonic now falis below the first finger, which may either press the string to the fingerboard or utilize the harmonic, according to the convenience of the passage. On the G String-
On the D String-
On the A String-
or: 1
l
f
í?
s
/i
or:
G .sharp
E fl at
D
D sharp
A
Exercises on the Separate Strings. On the G StringXI -•=.
i
a
HJO.
l,Vi
v-e.
•»•
£
X^2
fe
£
= .Ê f . T f l
2
On the D String, XI
• Y ^:^ i
1
2
On the A String-
(tp K^ —i 1
f
íp "f —i 1
a
/
xi ^ l f* •
l
1
Exercises
in the Eleventh on three Strings.
:
2
s
P-
J42—^^
.—ko
„
-|
l
Position
-o-
f 1
f
f
|
1
1
f
f
3 1
1
1
3
1
1
3
l
^M
2.
Exercises in the Eleventh Position in connection with ali the preceding positions.
1. 5HE
f r r i r n r ^ r r f r r i T f r i f ^ i f f f i f f if^ffiff 1
l
4
1
4
1
1
l
4
3
3
4
4
4
2
4
3
4
1
1
2
3
4
3
4
2
3
1
l
4
3
1
1
1
45
C sharp Major .Scale -*>
-o-
-O-
a
4
o
141
2 1
41 a
1
4
4
!
' ( 2
l 4
4 1 4 4
2 1
4 1 4 1 * 1 4 1 4 2
't 4
4
2
l
\
4 1 1
j~l 2 T'
4
1. 4 l
4 l
* 1 4
1 2 4 1 * 1 * 4 1 4
l
4
l 2 4
^ l i . r i l . * * . .. . -Jp.1»pil. * .*1.J> ..*. ir.T* rrrnrrrrií ; p i-rrr irrrrir rrrif r irrr ir rnr 1
0 4 ! !
8
* 4 l 4
* l 4 4
4 'i
'l
4 1 *
41
4
l 4 'l
1 * 1 2
4
4 2 4 1
4
4l4
2
2 4
l
42
* 24 l
4 2 4 1
l
4
2 1 2
11 4 4 1 4
2
l 2
*
G flat Major .Scale l
vii
m
* l 4
h.p
Exercise 1411*1 2*12441
41
! 2 4141414
11
412 4 1 2 4 1 4 1 4
Í* 2
44141
4
14412*1
4 1 4 1 4
C flat Major Scale L v
l 'i
9 1,
*» i
l11
*
—j-^
4 ÍL
i
—e
X
—f»—
^=
S
h.R
I
a
O «
1
1 h. P
4
4414 l l 2
* l 4 2l
'i
III II **Íl2 i
4^7" j*4 l
A.
3
2
4
2
*
*
4
l
l
4 1 2
.
—e
,
2
l
4
l
4
l
4
1 4 2
1 4 1
4
í
i 2
4
1
1
4
1
l
i
2
4
4
112
l
<*
i
4
l 4 1 4
n—
~
I
g l
4
1421
i
2
r
4 l
1
41414',
n
IV 2
~^h~ ^L_k!
l
141
1 4 1 2 4 1 2 4 1 4 2 4
4
1
l
1 4
1 4 1 4 1
Í 13
1
4
4
1
1
2
*
1
1
4
4
l
*
rrriff,rrf,ff 4 1 2
4
*
1 2 4
1 2
4
1
2
l
l
A
rmrr^n
J
47
B Minor
±%4y r|jl_«
f:
«— j « i J——-t
n
li——*»
T_
,
fl°
°
e
J
r»
[
-V" 4" 1 —«
4
í>-—ri — —t
Pi—
1 2 /» 2 4 2 ' » t
21
s—
—"
«
Exeràse 2
1
2
4
1 1 4 1 4 1 4 o
2
2
l l 4 j 2 O 4 7
4 1 4
:i
24
4 14
1 1 4 1 4 2 4 1
4
l '»
4 1 2
m^
fl
o l 4 2
cr esc.
'414142
41
114141 214104
2 1 4 1 4 2 /
4
l
4 14
l
14
41
114142
4 i
2 o /*
3
.',
21441
'i .»>
2 'i
:i 2 2
1142104
> .
2 4 1
l
'n 2
1
4 4 l 2 'i 2 4 l "*
*-*
•^n|l^°"Q^-"ò^i|0..,,_
F sharp Minor ^^j l
4 °
° 4 i
l
VI 4
Exercise
l
4 2
4
l
^
4 1
4
4
4
4 .,
2
1 2 1 4
l
ffrrirrrr 4 l 4 -2
'' 2 4 l
l T • 2 0 :,
4 141 2141
4
4
1414
'l 1 2 2 1 4 l 'l
'l l 2 4
1412
l l 4 l
VI l *
l
4 >» *
O
2 l l •'« l ~ l ''
1 'i •> l
1 4 1 4
' '
fffirfrrirfffirffrirfrfifrr 4 1 4 1
4 1 4 1
2 4 1 2
1 4 1 4
1 4 2 4
l 4
l
2
,-i 2 4
4
4 i 42
4
2 4 1 4
1 4 1
l
-( 2 2
m
4 ^ 1.4
4
1 4 2
'i 1 2 1
l
•'»
2
l
2 1 4 l
2
4 4 ,
(8 l
C sharp Minor
4
,! 2
11: d aõj J'fa>-
2
_3
n
xerctse
P
1 4
4 2
1 4
0 4
2
2 1
f 11 J *
/i
i i
4
*
1 4
l
1 4
2 3
3 1
2 2 1
2
2 2, l O
4 2 2 1
144
l
2 1 4 1
4 ». -« 1 4 1 2n
4 2 2 1 a
2
2
1 4 1
t* r\ i 4r. 2 O
P
4
|[
|1 ' 1l 4 2 l 14
l »
1 4
2 1
4 4 2
l
4
l
2
j'2
*!
4
l
l
* .
1_
tt-*
2 _ * ._
ir r i
Q
l
4 1
4 4
.
-I
2
t
2 4 1
4
2 3 3 1
4
2
l
4
í
2 1 3 1
r;;i:jlu^i]li;n»ffíffffi^ l r • m^f- TC —f, — rv
4 2 4 1
2 1 4 2
i 4 1
l
4
l
_Lr_!I_
4 1
4 !
4 1
l
4 1 4 1 4 1 2 1 4 1 4 1 1 4 2 4
1 4 1 1
vn .— vn 2 1 3
D Minor
1 2 1
2 4 1 2
l 2 1 2 2 2 4 1
/• 1
9
1»
»-»
0
1
—
:
4
l
2 1 1 4 2
1 2 4 2 4 4
u (U», x» —_ £i k-f*. l _—e _o._aja..jcr^ tf** PO
. •'
2 4 l
;:
4 r"4
1
j
2
4
4
2
^
4
*
t
—"4
3
—
4
1
2
1
*
2
2
s—
4
1
1 4
n—
l
4
4*
. °- " á i
4 4 1 2
l
õ o
1 4 1 2
n .,v
0 0 2
2 4 2
2 4 2 1 2 4 1
1 1 4 0 1 4
4 4 1 2
2 4 2 1 1 4 1
1 4 1 3 4 1 4
4 1 2 1 0 4 1
2 4 4 1 0 2 4
1 1 2 4 1 1 4
0 1 1 4 0 1 4
1 1 2 4 1 1 4
0 1 1 4 0 1 4
0 1 1 í
l
O
If the teacher só prefers, this exercise might be played with the following bowing: v
n
*_
«*
n Vn _ l LJ V V " V
O l
/,
2 4 1 4 1 2 4
4 1 4 4 4 1 2
l
l 2l 4 l 4 8
4 1 02 1 4 2
2 2 1 2 1 4 1
1 1 4 1
V Py
M»-^a=a=a==P 4
l
»J
l
4 4 2
S«J
l
4 2 1 2
G Minor
-fc-Hrt
x í b
Exercise
V*
=
i ^ o '• » t -
o
4 0 1 *
—
» » "-" ^r—^ 1 4 1
*»P°
O "o
^—«-
'
!
S
t » çj
~ ^ * f^ 1-
**o «>—
* o 4 1 .
1
2 4 4
°
"*
°
4
1 0 4
(; ^ 0 1 1 4 2 1
O
1 3
2
2 4
4
1 4
3
4
1
0 2
2
4
1412
2 4 2
0 1 1 4
2
1
1
0
4
1
2 1 2 4
2 4 4 1 2
4 4 1 4 1 2
O 4 0 1 1
l
2 4 1 4 1 1 .
1 1 4 2 4
2
l
Q
1
1
l
4
4
01
4
4
r
4 2 1 2 0 1
í a o l
2 1 4
21
1
4
1
4
2
1
2
1
4
1
4
l „
1 2
1
2
0 2 0 }
o
1
, 4
1
4
24
4
4 1 o
1 3 1 4 2
^ 1
Q
1 4 2
1
^
l
14
1
4
4 0 1 2
4 4 1 4 1 4
4 1 1 4 2 . ' i
2
0 1 3 1 4
1 4 2 4 4 1
1 4 1 2
O
4
1
1
424121
1 4 2 1 4
4
4 1 4 3
2
2 1 4 2
1 2 1 4
l
1 Q 1 2 1
4 4 1 4 1 4
OÍOí
õ i/ r. í, n r, ,-. i •'• •/ i v i
o i o ; i t .~ t..~ t t
I
I K t t S
t l £ T ~
. ^ o i * t fr r. * l o T O ? : * , í ~-o
^
1 1'
* 1 í~*
t i * .
v
n
»/
T
|y
1
* t
°*
V
f^
41
á^
* ..".
c
,
'' . ^ f\ i k
^
° n
L
0«» O * * ^"^
'
t 1 0 tT o * l
i t
T n
33:
R
-4
ir. l r. r. t i v r: v i 5: c <~
t K ir:
fc-
o
«*
^ A H 1
-e-
/
' »\ • "7
JOUl(>j J
51 Enharmonic Minor Seal es.
B flat Minor
l
4
O
"
l
o
K»-
o -f)
2 -trrr
_ r»
1
4
l
-o-
-o- ~rr -o-
3-
h. R
MH, ~T~ i
[, ^. 1 , • p ff f pr4 • p-f-, E ik, 1 /* l U r~H— S }> \v. \.j \ •« i
fc
^2
114
1 2 • 9—
H
2 1 4 1 a
14 0- P
4
Q
J—
114
1
1 4 .
l 2 * 4l
i 9a—
V nj rH r j• «P E4P- j•» m t* — _« ^h^
4 l *
* l 4 l *
I
'o
i
4 'l 4 4
a 4
2
0 1
4
4 1
4 2 4 1 4 1 2
2
4 2 1
2 4 ^ 4
4 4 1
1 4 2 4
4
t
4
4 2 2
4 1 2 4
21414.,
1 2 3 1
l o 14
l i l 2
l
4
1 4 1 4
112
1 4 1 2
4 4 1
4
1 1 4 1 - 4 2 4 4 1 4 2 4 1 4 4 1
1 4
142
4 1 1 4
4
t
l
4 1 4 2 4 1
4
2 4 2 4 4 4 1
The A sharp Minor Scale is played with the same fingering as the B flat Minor Scale.
1
4
_l
V
l -e
2
l n-o-
L., l
, ,2
l
4
-j-
n
4
*
Exercise
4
-^r1
0 1
2 4
\
1 2
4'
t
4
4
4 1 *
2 4 1 4 1 4 2 4
t 4
4 2 2
2
4
* í
o
1 4 0 l
l
1 2 3 1 4 1 2 1 4 1 4 o
1 2 1 4
1 ^ 1 2
l
*
l
1 4 1 4 1 4 1 2
2
4
1
4
1
2
1 1 4 1 4 2 4 4
4
1 4
4
l 2 4
4 l l *
2 4
1 4 2
4 I Í 1 4
14241
4 1 4 2 4 1
2 4 2 4
4
4
l
52
E flat Minor.
.
-cy-fT > 1. ti—e—" * >t
'
!
2
»
Z^ z
1
1
â
l
Q_-W
n
J;
Í
1
*
4
,
"
4
4
1
4
1
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PART III. INTERVALS AND EXERCISES. The student is urged to give his most careful atteption to the following 15 pages ; accurate intonation is one of the most highly valued assets a player can possess. At first, practice the intervals slowly, concentrating on absolute purity of intonation ; then varieties of bowing and rhythm may be introduced, for example : •—
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1
0
i
T
t
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l
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1
E
íí
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•j
i
0
i — P l—f
t
i
t
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J
^
< l
4
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t
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4
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t T
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t
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t 1
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i
l
t
t
i
l
t
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fil
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62 Exercise in Fifths.
nif
â 4
1
4
1
í 4
1
4
1
4
l
2
1
4
l
4 1
1
4 2 3
4
2
4
2
1
4
4
l 4
1
4
1_
cantabile
1
0
1
4
4
1
1
3
2
crescendo
« ,Y *
/
™ ^ «•
viu
g 7^
VI
f > r f i rPi M i f «r rir r r . if «r r á £M=M= í 4
, f
2
f
4
4 I
i
f ir
t v d v— —r _j y f* '—i—•—
0
diminuendo
4 II
4 1 0
2
'„
22
Ò 3
3
,r~^
•j
\-m-\M
~r
„
—
^^
„
•—i— ni —\-n
—p
0
4
i
.p. v
\
PH
1
—
3
21
^ _ £ *. 5
tF-i—tH
l
-H—•—
cr esc.
p
Ê
ícrN i r J r J
4 2 0 4
////"
f j r j ur Tu r f r 1
^ 1
2
1
2
1
4
3
3
1
4
4
i 1
4
2
Q
ffI-TC ' f* f' uu rr r^irr^ 1' '
\
4
4
l
1
»—i r i i > p a 1 r r —? 4 1 r—. +-é-i âim. f
rj
1
-F— =tl?= —r 2
l
l
4
"i
'
^ 4
... „ diminvendo
m oito ares c.
-Cyi»
4
l
4
l
cresc. sempre
1
4
-p
2
1
4
1
4
4
1
1
4
4
P1 —,
,
1
0
w r^" espress.
2
rr —jf~i -l —T^— — i H •^
e
1r^-w—l•—i
4
4
f "r., f if rr^W 4
1 4
l
3
2
-O 2 3
'—O3
2
4
1
0
1
1
4
1
4
2
3 «if
2
4
1
0
63
Sixths. Wben a succession of intervals which must be played across three strings occurs, the player will find that the passage can be played with less efTbrt, better clarity, and greater smoothness if the notes on the lower string are played up-bow. This is especially true in fast passages ; in fact, this applies even to a succession of intervals on adjacent strings if rapidly moving notes are involved, as for example : —
<•).,* X ly
V
n
J fj
P|
2
i r- 'r i
11
1
4
f
p
f
[Tf
1
2
1
4
'-1 4
2
1
3
2
4
1
4V
4
"J —
3
./'!>..<• d— | 1p—'
Hil
_
i
0
2
4
°
^ 1
4
1
4
i f-'i lr i
0
2
1
3
1
4
1
'
l
l
10
2
4
l I
21
4l
2
H
2 l
4
1
H
'O
42
41
f
y*^'L
2
fc):. i L ^ y/
4
p
f4
ty u
f f ' 3
-j— •*—
1
r-õ
1
'
k
3
4
1 --
,
-^ \>_i\y
2
P
r *
«ffJvkr <*, P
w
4
2
4
D L
1
-^-t-Vrt \f 2
V
1 4
1
(5
1
1 4
1
!'
4
1
3
1
3
*
'J
~f—'—í~r—'—
31
9 3
1
1
1
4
r; | —s
1 2
O " O
13
1
4
1
'
1
3
h. R ^
'0
_)—i—11 '— LL
h
H
1 4
9
f
2
'
1
-?—
E
'
l
42
41
:H= ò
-r
0 1
l '
1
4
1
4
'
'3
f 1
^ J
1
4
2
-e
l
41
u—e3
3
'j
1
rJ
1
4 0
2
'
L.
4l
4
1
2
1f
. »:
4
1
1
r
6 1
0
2
4
0
1
U
24
0
4
4
r
e
1
o
4
01
4
1
1
r > õ2
4
f —r> 1— —
4
H
1
P
2
1
4
2
c1! H
4
1
1
I
I
1
3
"
H
4
0
~
1
2 4
^
4
f Mi
i
"M— r^H—r^ -~\ ' õ
4
3
1 2
p
®
UC
1
1
J
2
ri
4
f^=M
p fl Mr^ f rP fi
f Hf—P1—Hf—=-jH^r f -+— —\—Hf—r—Hf^ — f-H
1
1
1
2
*
f 4
4
n ^ 1*
j
.. \v . \t— l
i-
1
4
1 4
2
-"j—ri—pP—i p i
0
1
4
(9
4
p-p—j-^-js
-^ [> t»^
1
1
&
2
e
2
r f ir f nf
4
•J
4
-' v \>
1
r£H—i —'rf—T—1
1
2
4
i
4
Ip
34
f 1
1
¥=±=
1
-t^-. —[r 'r lH— 1 M^—il r _i—r-i |—F+=lP—lR=HP—F -J-t~ 3
1
2
f f ir ,. .r ,
r if r if 3
rí-.r-h i Hh
1
1
(— 2
4
1
2
1
19
2
'4
4
* 1
j
1
1
X
r. 2
4
1 4 v
4
2 2
1
3
4
1
-f-p 1—\~n p —_ _ -— — -^
1 gj
1 p '|
1 jj
o
4
j
4 1
1
3
—M-
2 4
a
LJ
1
2
4
1
2
H j; — 1— \H :9 ' " "-j : j
4
4
4
"
.-1
v n
l r ir? iíT i
l
0 4
1 0
2
l
'„
l
4
1
É3ÊÉ 4 1
r if nf i'
2 1
3 2
lV I II d
l fi
I \1
1 3
41
r i., r i, f u- f ir f ir f if
fci:<
4
1
4
1
4
1
4
1
4
1
3
2
41
42
if . 3
l
fri r 3
2
3
1
2
3
2
4
1
4
gtfi u.i r i J r i' r 1^ ri iirí iir 2 1-
4 1-
'' 2
*
2
!
4 1
4 1
r .f r .f P .f .. .fe^è 3
1
3
1
4
•«• 4 4
5
2 ? ' 2
1-l
1
4
4/.
1 1
2
4
00 4 4
1
2
1 4
2 4
1
2 4
l
,-Q
4
4
2
' '^
t
l
i
4
1
1
2
r-í,
i,
4
4
1 4
1 4
1 3
,
. 4
1 4
„
0
1 3
* ', , .
1 4
4
4
1
ir J ir j
P
1
l
'/•fiiiy r r 2 3
r
1 3
4 1 .
V
4
4
3 1
Q
3 2
1 2
ir 4
r i. r
v-v -
2
1
2
1
l
2
4 2
4 1
4 1
4 l
2.
4 1
2 4
1 2
1
ffifnfpif,'if *
l
4
1
2
4
4 1
1
1
2 1
4 1
1 4
l
*
1 4
4
l
2
h.R
1 4
l
1 4
l 4
2
1 4
1 4
Ê
i 4
1 4
2
4
2
4
l
4
l
'4
12
41
41
24
Pi
4l
*
O
1 2
65 Exercise in Sixths.
41
2 4 - 1
4
2
1
-
,
1
4
2
1 4 1 4 4 1 2 1 4 1 4 1 3 1 2 4
l 2 '4
TPTI 4 0 1 4 2 4 4
2
O 4
t
4
l
2 'l 4
l ^ 4
4
14
4
1
2
1
4
2
3
4
4
1
4
2
4 l
O
2
4
1
4
l 4
'l
4 1 0
l
l 4 l
'i l
24
l
l 4 l
4 l 2 j
O 4 7",.
i 4 O l
O 1
4
O l 4 'l
4
24
l
4 "^4 2
241241
4 ^ 4
4 2 4 2
l r~4 2
l
2
l
1
2
4
41
4
-';»p .» P Í J ! . * a i i
1
l
4
1 4 1 4 2 4 2 2 4 1
4
1
l
4 4 1 0 4
a
l 4 2 4 l 4
l 4 t -j l 4
t
t
O ! 4 2
/, ! 4 l
4
2
4
j
2 4 1 0
4
^
Sevenths.
Work to achieve the maximum in continuity and smoothness of sound.
n
j l i P "T i r' fetf 1 2
' , )
4
l i
2 4
0 1
O
:
'
4
O
l
-4r rr-— \s *5 -*-4
-±fa\
_
4
— f}
4L-L^ '
4
0
TT P ...
3
4
0
1
2 1
4 4
O
4
-)— v
-H0 4
4
0
T
-)-
1
f=t
t=
r>
4
1 1
4
- -y —
4
4— -M-Lj V1 2
»-
f
1
4 2
t
l
- -j—77-
1
1
^í •p- 2 ^9 -4^4i- ^rp rr 4 1 f-^ i i 'o 4 1 i
l'
0 0
1 2
.
0
4
4
^
-*q
•/;o
i
i
x-j
&-
3
1
^1
2 4
n V f1
3 3
O
p- -
crt ¥-^li
•,
-\r^-
~ST~| r'\ rtrr-
4
o o " o—»
f -}-
4 4
4 4
f4—r
•«—
1 r,
1—«9
—r
4 4
1 1
0 4
1
«5
'-
0
f \-r
n
fT
-4
4 í|
fV
gj
f-
-f f 1 0
1
—d4-L-er— 1— rj M
—— — 2
^>
^i
~I
,
^.
^
£f
r —
n
4
= •n |f - ^-
-
fli ^ ^
p— =f ^
P—l—( 1—J —1
-TTT-
n
~.s \f , *' "
~ 4
í
f r if V
>P (*,
1
2
4
4
n ^—n
4
, f . -Fe
*
H
i
4
0
1
1
4
4
j
V
,
,
*
*
1
l
"
2
1
4
4
1 1
l
0
>M . \
l
4
^=Mi—t-iJ
2
*
l
H
l
^
4
4
0
1
2
1
4
\' 7—M
d i
0
4
-^ -
«
p '
rj
1
4
4
3
3
—&
i
1
-T
i
o
r j i r ^l
l
2
1
2
1
4
4
0
j— — fi——*i p—r i
ft=&— fí=^~~\fi——i
1
i
i
4
r?—i
—i
2
r
4
-d
~
4
1 i i r-h -h
r—f-^
«^ H„ 1. .•~
_, ,
4
4
2
2 l
> if F if . i f . ir.1 0
-h i—!—4
1
4 2
4 4
1 p 1
y*"it i* *•—pi -f— À—
4
1
, •
, , , ,
^J—1—1—F-i^ i
p
1
1
4 4
H
Q
i
r .1 i r j u j ir
2
-d—
r^
*
1
"
l
M
1
-Li
4
p
T—1ri—Oi rrt
f
l 'r ipT r. . -f ^
4 1 (9—1
4
— p— 1 TU
if .. ir
f
iC
1
1
4
'—«y
l
1 1
tv d
•i
n
V
4
O
l
l
2
3
1—e
T;
ri
2 .
=*=¥
4
0 1
^
2 2
1
'/^ t" p u f- i r P i r j 2
2
1
4
44
l
4
f 4
4
4
P
4
4
1
l
2 ^
1
1
4
4
4
1
4
4
2
4
4
4
1
í
^
l
4
2
,f l
1
4
1
1
4
1
l
4
4
o
4
l
2
i
1
2
4
4
67 Exercise in Sevenths.
l
0 1 4 2
'li
V
2
nV
1 2 4 4
l 2
l
4 '0
4 0 1 1
4
2 1
4 2 1 2 4 4 2 l
4 2 l
1 1 4 0
O 22
11
1 1 4
4 ^ 4 4
n
l
2O
l Q 4
r r
l 244
o l 2 4
1 1
r r r rr 4
0
1 2 4 40 1 2 1
«-»
221
3 3 1 02 2 1 1 VI
Ê *. 11 4 0 14 1•*
A A 4 4 2 1 O 2
A A A .. 4 4 2 1
/, 4 ''
-
0
1 4 1 1
/ • 4
_
•
2
_ l« ' O
O
S. 4
2
«f
1 4A 4 / •
i. 4
i
2 O11 4K. 1
l
2
• i , ,n* 4 1
4 2 l
O 4
414
l
44
o 41 O
241
04
141
4 l
l
Octaves.
14
5 1
'i
4
4
4
14
0
0
14
2
1
13
3
m 4
1 4
1
4
l 4
1
1 4
41
4
't
41
41
10
PP
1 4
f..f.f!.f...f. aã r'ir r r f
n.in.-fV^Vai££ l IP l I l ri l
Í«=E
1 4
2
i
1
rj
t^i
rj 1
2
4
n h.P.
„
.o.
uri.iri,fi,.f 1
4
V
1
4
n
4 1 3
13
3 1
^ ^
3 l
V n
f , l
*==
í
l
4
1
4
1
4 ^
f n f .ir,i ir 4
1
4
a
f.
f^
^^
^N
t
l
f,,-g l
P l
4
O
n
l
'
"
1
n y
V
O
.
l (J
"
,
4/.
l *=7| /. 4
i
T
« 0
4
1
r ' N ' u i 1.1 r u
1
'
1 f. 1 4
- I Q 1 3
-
Q 1I 3 O
* ? • 3 1 O
! * * • <
A < 4 1
3 1
I
j ri j i u' N
73_
^ 4
0 1
h.R
<•• j
l
&
4
l
r..fi,.fi,fnl>if,.if i r » i|" ir1 li1 ri1 ri1 ri' .1 n J ir.i i
4
'
'
Exercise i n Octaves.
*ÍH
40
l
41
4 1 1 0
l
o l
4 1 4 1 4 1 4 1
1 4 1 4 1
1 4 4 1
101
4 1 2
l
4 ~4
'l
4o
l 4 o l
l
2 3 2 4 0 1 4 1
41
l
l 4
4 1
4 i O l
4 1 4
4 1 4 2
1 1 1 4 1 4 1
4
O l l 4
1 4 4 1
4 0 4 1
l
41
l
4 i
r» ..^.—r . \"r M
4 1 3 1 4 1 4 1 4 1
l * l 4
4 1 4 1
l
1 4 1 4
l
4Q
4
l
ol l *
1 4 l
41
4
4 l
0
*
Õ
1 4 1 4
* 4
1 4
2
l
4 l 4 i
1 4 i 4
4
l
O
0 1 1 4
i
1 4 1 4
4 1 l 4
4
1 3 1 3
2 4 S
o
69 Chromatic Scales. At first practice these scales slowly with separate bows ; then increase the speed and add the slurs. work for precise intonation and clean articulation of the left hand.
At ali times
etc. C major Í
1 2 1 2
4
2
1
2
1
0
4
4
1
0
4
2
r v r ifr f *f
F major ~*7 1
o
1~2
: í
4
0
f T f ff rr r 4 4 2 1
4
2
1
4
2
1 1
2
1
'O
4
0
l
l
•'S
4
2
1
4
0
1
1
40
l
4
1
2
4
1
2
2
4
1
2
1
2
S
0
2
2
4
4
2
0
4
1
4 2
1
4
2
r
1
0
4
2
4
4
2
r f r r^rf |f rrr fr r"r 0
6):
2
1
rr"r r
4
2
rr
E Hat maj
1
r i r rr
r
B flat maj
A flat major
2
1
2
2
4
1
2
4
1
2
4 2 1 4
B
1
2
1
0 4 4 2
l H 1> -^ V \)
V "•
4
3 3 2 1
0
4 2
1
1
1 4
0
2 1 4
1
1
2
1
2
4
0
0
4
1
1
2
4
1
4
2
4
4
2
1
1
0
4
D 4 0 1 1
2 4 0 1
2 4 1 2
4 2 1 4
2
1
0
4
4 2 1 0
4
G flat maj 1
4
3020
2
1
4
2
1
2
4
4
0
0
2
1
2
1
0
4
1
1
4
2
1
2
2
4
1
2
rr ! Tf»r J|JtiJ ^^ 1
0
4
4
2
1
0
4
2
4
70
B major
_W|j,. (* 1 2 4 0
2 4
0 1 1 2
4 4 2 1
0 4 4 2
1 0 4 2
rxr
<• .«U *-x
J .J J Ipllp
E major 1
l
2
4
l
i
l
2
4
O
l
2
4
l
2
4
l
2~
f r r fr r 4
3
1
4
2
1
4
2
1
0
4
4
2
l
O
4
4
2
1
0
*
4
jj ^7
«r **' A -naio, 0
1
1
2
4
0
1
1
2
°
4
l
2
1
2
4
1
2
4
1 2
4
1
2
4
1
2
ítec te s h ~3
2
í
4
2
l
4
l
4
2
l
2
l
O
4
4
o
l
n
4
O
l
1 2
4
2
í
FTi»
Ê
D major
G major
2
4 0 1 1
2 4 1 2
4 4 2 1
4
2
1
2
4
0
4 4 2 1
fcj-
2 ^ 4 0 1
1
2
4
1
4
0
1
1
2
*
0
4
4
0
1
1
2
4
1
2
tf^ta 3 2 1 4
2
1
4
2
2
1
1
2
0
4
*
2
1
0
4
Exercise for Overcoming the Resistance of the E String. Play this exercise entirely on the E String. Practice it slowly at first, then increase the speed. In order to derive the maximum benefit from this exercise, it should be played with good articulation, keeping the bow firmly pressed on the string ; and as sustained, as strongly, and with as much bow as possible. V
ff~
II
u JJ.IJ J,J *\ * \ \2 l
4
24 11 2
4
2
1
h. P.
2
'
1
I
*=* 4 1
' 1 4 1
I
IV
» 4
íi
1
Two Shifting Exercises. Play this exercise slowly on the G String, making the second half of each measure sound as smooth as the first two beats.
a
íVf-
m~T^
£4=^ 1
2
1
2
2
4
2
4
2
têm
ÉTN L -^ '
3 1 3 1
4 2 4 2
1
2
1
4
2
4
2
1
4
1
4
1
4
1
4
4
1
4
fftr.*P ^f,ff 3 2 3
2
l
1 1
4 4 4
2
2 2
3 3 4
In this exercise endeavor to have the combination ofshifting and string crossing not interfere with the legato.
r r if r f ,~
4
> £ £ 4 2 4 2
i
4
í rr i
4
1
2
r r ui> j f i^r ^
1
4
1
4
1
4
*
2 1 2
o
l
2
3
l
71
Exercise in Ali of the Major and Minor Keys. When a dot is placed above or below a note, it signifies that this note is not to be held for its full value,but is to be separated from the following note. The term used to describe this manner of playing is staccato.
trf ffirrrf^ l
2
2
l
l
4
2
1
1
4
1
1
2
4 1 4 1 . 42
2
1
2
1
2
1
2
1 3 1 4 2 4 2 4
3
1
3
° 4
2
2
4
1
4
2
4
l 4
1
4
4
2
1 4
l
2
4
2
4
1
4
frrff rff|ffffffrfifj 0 1
2
14
O
1 1 4 2
1
4
1 1 4 .
4
1
1
1
'l
2
1
2
1
3
1
4
2
°
4
1
4
2
1
4
2
4
2
4
1 2
42
1
2
1
3
2
4
1
4
1
4
O
l
l
2
2 4
3020
~ j
4
2
1
(l
2
l
1
4
2
1
1
2
2
1
1
4
"
2
4 1 4 2
l
1
2
4
1
4
1
a
4
l
4 O l
2
2
1
2
1
4
121
1
4
3
«
4
3
1
2
4
4 . 1 4 2 4 1 0 -—_
4
1
1
3
4
1
2
4
1
1
4
4
1
2
4
1
1
4
0
1
4
4 1 4 4 o
4
4
4
0
1
4
1 4
' *
\
2
2
l
4
4
4
1
4
4
Í
• l
*
l
4
72 o
4
. 4
1
2 .
.
4
2_~4
?* ! ,
l
?
l
'
?
áuJ. h'-
1
I h-P4
l
2
l
4
4
1
4
1
1
1
1
1
4
4
1
4
2
4
2
1
2
4
2
4
0
4
1
l 4
1
l
2
1
2
4
1
2
1
1
4
1
1
4 2
2
1
4
l
l
1
4
4
1
4 1 4 1
1
2
2
1
4
2
2
4
3
2
1
1
1
4
1
4
2
4
4
2
1
1
3
1
4
2
1
3
1
4
2
4
1
4
2
4
1
4
2
4
2
4
3
2
2
2
3
4
3
4
1
2
1
4
4
1
4
1
4
1
4
4
2
1
1
4
l
1
4
4
g*""
2
1
1
1
1
2
1
1
2
4
1
4
1
4
2
4
4
1
4
1
2
1
4
i
4
"
"
4
4
1
1
g06 1
1
4
2
1
4
1
4
1
2
3
1
O
4
1
4
1
4
2
4
2
4
2
4
4 1
•flf ttr . f 'ifTf .i
1
4
1
2
4
1
3
0
1
4
i
2
4
1
1
4
WiffrTffJLf 4
4
4
4 1 2 1
4
4
1
4
2
73
PART IV. Various Examples and Combinations of Bowings.
1 4 1 2 4 1 3 1 4 2
2 1 2 2
4
4 1 2
4 1 2 4 2 4 4 1
2 1
1 2 4
1 4
t
2 1
1 4 4 1 1
O 1 2 2 4 4 1
^., l
2
0 1 1 2 2 0 4 1
2 4 4 1
l
4 2 1 4 1
4 1 4 1 2 4 2 1
^
Practice this exercise with the following bowings :
e/c.
8 eíe.
eíc.
eíc.
-f
e/c.
etc.
23* etc.
e/c.
ctc.
30
n
n V. n V /—
/"<»»
V
2 1 1 4 2 4 4 1 2 1 2 2
l 4
0 4 1 4 2 4 4 1 4 2 4 0
1 4 1 4 1 2 4 2 1 4 2 1
urrfffffrç 0 1
1
4
1
4
1
2
4
4
l
To be practiced with the following bowings :
ele.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
etc.
The remainder of Part IV will present examples which deal with various problems of bowing. Certainly one ot the most frequently encountered of situations arises when notes of considerably unequal duration occur within the same measure or beat. In many cases, the most convenient manner to handle such a situation is to join the shorter note (or notes) mto the samebow as the preceding longer note. * However, the result is not to be confused with legato playing, and such notes should have the same type of separation as if thev were played with separate bows. ^^
n n_ y.?-.V ,~-v i.J znd time )}
l
2
ir
4 1 . 2 4 1 2 4 1
4 1 4 1
l
4 1 1 1 4 1
2
4 l
4 l ~ff
l
d i m.
4 l
v
4
^
1 1
l
2 l
l
-99
<2)
crexc-
4
2
£
1
f
nrurirPrusn
4 1 0 4
For example, note the exercise on page 57. It would be very awkward to play this exercise without the indicated
75 A clear distinction should bs made between the preceding and the following exercise by carefully observine the rest in each measure. In such passages as are found in the following example, itis generaliy advisable to "play the softer sections somewhat on the staccato side and to lengthen the noies in proportion to the increase in dynamics, but never to play a note longer than its written value, no matter how great the volume.
n _ V n^.V n^ly
^
2.
±
p
^JV
ir i J w i i J1 vp 1
4
1
4
etc.
1
cresc.
4
2
4
rf/OT.2 1
4
l
1
^ 4
éi 3E? 'V\i
cresc.
1
4
1
4
1
Z
crcsc_
l f
f
z 4
2
p
4
1
4
1
4
0
2
0
4
l
f
dim.
mí ytf
2 4 4 2 4 1
4 4 1 2 0 4
1 1 4 1
«'O
PP
02
1 1 4 2 1 2 2 1 2
41
41
4 2 1 4 1 2
21
2 4 2 1 2
41
21
4 1
4 1 4
21
v
—-. V
n
4. "4
4 1 4 4 1
2
4
41
41
1 0
1 2
41
44
4 . 1 4 4 1
41
4
41
21
etc.
LjTrrrrjrr 4
4 1 4 2 1
2 1
4
4 1
4 4
2 1 2 1 0
21
O
21
4
76
4 1 4 4
,/í
n
v n v ru v^ . íí±rr±i i • * ^* ___m
—
1
4
1
4
2
4
1
4
~
2
2
4
l
4
1 2
1 1
4 2 4 1
1
2
4
In the examples presented só far, the notes which are joined in the same bow occur, for the most part, on the down-bow : however. this can be done as readily on the up-bow. It is extremely comrnon to place two adjacent notes of unequal duration together in either a down or up-bow, providing íhat the shorter of the two notes folio ws the longer one.
.V, n V-, ^ •--:
n
v
V_ n v
v
6.
Frequently, notes which are separated by two or more beats may be connected with the same bow.
9. ãE||
iêá
10. '
~ <• p f^ 2 1
4
14
'Q
-o-
2
The joining of notes may occur at any place within the measure, within any segment of the beat, or over the bar line.
"
11. 4
n
l
2
l 2
4
77 It is frequently a very useful practice to group notes of the same length in one bow.
n v
n_
IU f. ^ n
V
V
n ^-, v
n n > ^5-
n
£±*
=- w
YY
Also note the sugges'.ed alternate bowing for the D Minor exercise on pp. 48-49.
More than two notes may be joined in the same bow H.—.. -;—x «
y
«
n vv •*»•
Lento
V
18 However,when a greater degree of volume is called for, the player may be required to discard the grouping of notes in the same bow in order to produce a sufficient amount of tone.
In determining a bowing for a passage. give careful consideration to where accented notes occur, since it is highly desirable to play such notes down-bow.
n v
20.:
~~
p ~~"
^_ "
ctc
v
'
n È7
v—-_ f/C.
r
Also, tempo is another consideration in deciding upon a bowing, for in a slow tempo it will not always be feasible to play a number of notes in the same bow if the sound is to be properly sustained. Thus volume, accentuation, and tempo are among the factors which influence the choice of a bowing for any one passage. Any general suggestions must be-tempereci by considerations of the individual passage and the personal preferences of the player. The following exercises are presented to acquaint the student with a number of problems concerning bowing which he is likely to encounter, and to suggest methods of dealing with these situations.
V n V n
V n V n
l
40
1 4 2 4
2
0 4 1 4
l
2
O
The above bowing is quite useful in a fairly rapid tempo if a light sound is required ; for a slouer tempo and a larger amount of tone, bow such a passage as follows :
n
"D l n X
v
•!»
V f- Z
n
»
n
V T V nV etc.
3. Practice this next exampie as an exercise in retrieving the bow. second beat with as little break in sound as possible. n v _ _ . . _ . _ _
Play it slowly, and get back to the frog on the ^.* _
n n A .&• v *
n 2. Y n n v
4
l
1
4
1
4
1
4
4
1
2
1
2
1
êÉÉê
i 4
l
ÍÊ
/
0
VI
1
4
1
4
2
4
1
2
1
1
4
2
2
1
ê 1
0
1
4
3
More commonly one of the following two bowings would be used, depending upon whether the player wishes to stress the first or second beat.
n p. _
-7.
5.
v nv
44204
yn
1 4 2
^ 4 ^ 4 l1' l4 ^4* 1i
V
n
v
.u _
_ n 1 2 1 1 ±TTn
n v"
ny nv
| |,>i 1^
4
PIV
(7
21
etc.
0 1 2 0 2
79
V
n - '. *_
• i
n
i s o l «> •'< . a
11 i
4 t
f l o 3
t
ia
'» 1
1
i
1 Til—1 1 -f~P~ o i 1
rf~i "Tl
=7-|
4
£
1 1
4
4
1
r*~fr-f~
) . 1 'i
'i
i 'i
P^— T- »• * . /
n 't
4
=H= 1 4 1
n n
't ••
i 1 a i 4 a s
l
.,
'• i
r^
pi™. /i
4
1
T—h
r ^ i 4
ff
a '
S
!
1
4
1
-ri — t=> 4 0
H
14. v
ÉlÊ l 2
*L2-/
l 4
V/-i"V
111
414
n
114
V/^-21 n v^.
142
3
15
•i i
4
1
i
4
l
* At those places which are marked with an asterisk, and at similar places, return to the lower half of the bow after playing the long note. This applies even if no rest is indicated ; in order to assure propjr placement of the bow and satisfactory articulation of the short notes, they must be played close to the frog. ** Here it is not necessary to return to the frog ; however, in order to avoid an accent on the eighth note, play it cm*all nmrumt r»f
81
16. foz
4
0 1 4
4
4 1 4
2
1 2 4
1 1 4 1 4 2
0401
4 4 2 1 1 4 1
4 1 1 2 1 4 1
2 1 4 1 4 1 4 1
1 4
4
21
412
11
4
421
4 l
0 1 4
22
01
« 4 4 1 2 4 4 1
Vn v
17.
1 4 1
01
0 4 4 1 2 4 1 0
0 4 4 1 2 4 1 2
4
4 1
2 4
4 1
4
41
t
1 4
Andante
4
4
0 2 4
1
4
1
0
82
Moderato
cresc. V n
P
l 4
l 4
Andante
„ 2
4 1 4 1 4 2 1 1
V
^
2
4
cresc. 3020
1
A
2 4 1
4 2
4
2
4 1 4
l 2
l
4
1 /i ,
2
t 2
4
2 4
•_;
' l
1 4
1
1
2
4 2 2 dl W.
l
k
PP
/(
83
_r—. 4
2
1
i a i 2 a ! J i 4 / •* «^
4
?
2
4
2 4 1
4 2 i a i 4 a
n v n v,
20^-4
4 11 4 4 1 j,'»,. dim.
2
0
1
4
P
1
'
2 4 1
21.
2 0 0 4 1 1
4 0 4 1 2 4
1 2 2 4 1
1 4
cresc. sempre
f . r r f .f ff. f
84 PART V. Supplementary Bowing Techniques, Ornaments, and Orchestral Effects.
Spiccato. When playing spiccato (also known as saltando, saltato, off the string, or bouncing bow), the bow momentarily leaves the string between each note. Spiccato is one of the most frequently used strokes ; rapid passages which are meant to sound staccato are commonly played spiccato, for the speed at which staccáto can be played without leaving the string is very limited. A wide range of gradations ofdynamics and of intensity of attackarepossible in spiccato, and the player should be able to vary the shortness and sharpness of his strokes to fit the requirements of the music. If an increase in volume and accentuation is called for, it is necessary to play closer to the frog. It is suggested that the following exercises be played close to the frog, quite strongly accented, and each note extremely short. This type of practice will not only aid in the development of a solid and well-controlled spiccato, but will also be of great help in improving the precision and firmness of the player's attack. Ymmr mmrr mrmT etc.
i
3
êÊÉ
ê
«
1
4
1
2
4
1
1
1
3. m
2
4
í
4
1
1
3
1
4
2
0
1
2
4
4
4
4
2
2
1
4
2
f^ ^ffT
2 4 2 0
4
1
3
4
4 1 1 4
l
1
,í
2
Ij' f U
2
4
1
m--.m-—
4.
3020
•3—
^
1
85
1 4 1 4
l
4
4 4 1 2
l 4
At first, practice the following exercise fairly slowly and with short, detached strokes ; then gradually increase the speed, and play it spiccato.
6. ÍH!
rrrmiFFfftr"
1 0 4
3020
86
Ricochet. Ricochet bowing is also known by the names of jeté, saltato, or saltando. Unfortunately, this results in some confusion, since the last two are more commonly used as synonyms for spiccato. Ricocheí is done with a throwing motion at the tip of the bow, Jceeping the pressure of the thumb (with the German bow) or the first finger (in the case of the French bow) quite firm on the stick, which results in the bow rebounding two or three times during each stroke. This is not a bowing that is frequently called for; it is suited for passages requiring a small number of iight, rapid repetitions of the same note, such as the following :
v
n l •!••
rrrrrrrrrrr
•••m»m •&. s~
x-
U:>tff| J/2
n_
^•^•i^M.
•-•, ^~—"-^ s~—•» •l •-iPi•-i. ^1
*~
s~—-*
^-
,-—
V
"
=
T~ij —CI~
N
•^
n -í
V3
n 3
m mmmm mm»
Allegro vivace ni _
From the Overture to William Tell, by Rossini
_
_
V
n_
V
nV n VnV nV
3. W(atlhetip)
J^íatthefrog)
nV nrv miiwmiimiimmmxíw IM^BBIBBBBB • m
(at the íip)
rrr y
'LU y '*
Portato. Portato (louré) might be described as lying halfway between legato and staccato. It consists of several detached notes being played in the same bow.
rrrrrrrfrrrrrrrrifrrrfffff
87
From the Symphony No. 4 by Gustav Mahler.
Moderato
^-L^
, -
-. n V n V
5. pp leggicro Portato is not to be confused with another manner of playing detached notes in one bow, which is known as staccato bowing (a rather unfortunate situation, since staccato is also a generic term, covering ali types of short notes). In this specific instance, staccato bowing refers to a large number of detached, short notes, played very rapidly in a single bow. This is a bowing which is not used in the orchestra, but is part of the equipment of the virtuoso soloist, especially if he is a violinist. It is extremely rare to see this bowing done on the 'cello or viola, not to mention the string bass. A really thorough cataloging of bowings would include such terms asdetaché, lance, fouetié,martele, collé, sautillé,andflying staccato. For the most part.these can be described as subdivisions of the basic detached and staccalo strokes.based upon variations in the length of the stroke and the manner and intensity of the attack. It is not necessary for the String Bass player to be concerned with subtleties of terminology, but the basic strokes detached (detaché), staccato, spiccato, and portato — should be practiced with different stroke lengths and with various degrees of accent in the attack, só that the variety of bow strokes at his command will be comparable to what is expected from players of others string instruments. Also, these strokes should be practiced in different parts of the bow ; if a short, marked stroke is played at the frog, it will not be the same as when done at the tip, and each hás its own uses.
88
Grace Notes. Grace notes are indicated by small notes placed immediately before the notes which they are meant to ornament. If the stem of a grace note is crossed by a small line, it is played very quickly and on the beat. From The Nutcracker, Act I, by Tchaikovsky.
Allegro vivo
f -ff f f
Notation :
To be played : 1
2
1
4
1 4
2 4
f «f f f f .. f From Das Rheingold, Scene I, by Wagner. • Líi • >L-
f f
,,
íí •
Notation :
To be played :
JVT-^JU-T^
i p
c r es c. ff
éfíf l 2
•i
4
Veryfrequently in Eighteenth Century music one encounters grace notes which do not have crossed stems and which are not meant to be played quickly. Scholars will often argue about the exact interpretation of such notes, but in general it can be said that long grace notes usually occupy one-half of the value of the note which they niodify, or two-thirds of the value if the principal note is dotted. Notation :
To be played : 3020
89 A group of grace notes preceding a note is known as a gruppeito, and is played before the beat.
Notation :
r»-*
One or more grace notes may occur after a note (most commonly when the principal note appears with a trill). In such cases, the ornament is called an after-beat or after-turn (German : Nachschlag). The time required to play these notes is taken away from the note which they foilow :
Notation :
/
mtur n.
M s
W,W
To be played :
2
4
l
2 4 1
1 4 1 4
4
l 2 .T
4 l
4
2
l 2 '.S
2
4 1 2 3
4 1 4 1
!; >t 4
4 lO
3
90
The
Mordent.
The Mordem is played on the beat,very quickly, and can ornament the principal note with eithet the upper or lower neighboring tone. In the latter case, the symbol for the mordent is crossed with a small vertical line.
Notation :
To be played : l 4l
141
242
a 4
1 2 4 1 4 1 2 4
-Mv' •W
4
2
-w
/w
/w
0
1
1
1
2
-W
4
4
iiá; 1
4
'W
4
2
4
2
1
1
1
1
2
1
4
4
4
4
2
1
4
1
4
1
2
1
4
4
2
4
l
l
m
^ :t
3: 2
4
1
2
1
1
1
'j
l
* An accidental placed above or below the mordent sign refers to the auxiliary note.
l
2 1 4 2 1
2 1
1 2 4 4 1
4
1 2 4 2
1
4
l
2 4 2
1 2
4 4 1 4 4 2 4 2 1
1 2 1
2 4 1
l 4
91 The Turn. Following are examples of the more common forms which the Turn, rarely occuring in music for the String Bass,maytake.An accidental placed above the symbol refers to the top note of the turn;an accidental below the sign applies to the bottom note.
Noution
2l oi
rr
(Si
r*—l
J-
,--—
•-^ r iiy Vv /* l „—— m-
£=±=
OS
5*
í»
9 •ft
,
t 1
1
fj
y
•
=
— -——-
p
-— ~.
-
i
—^
J^-
?;
'
^—— 4 1 2 4
.
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The student should be aware of the fact that universal agreernent on the manner of execution of ornaments does not exist. For example, the Mozart extract which was just quoted is frequently played as follows :
ate.
92
The Trill. Trills are played with either the whole or half step above the principal note according to the dictates of the key signature, unless an accidental is written above the trill sign, altering the upper note of the trill. As a rule, trills commence with the lower note, with two exceptions : 1. If a grace note precedes a trill, it is to be played as the first note of the trill ; and 2. In the music of the Baroque period, trills ordinarily begin with the upper note. A trill over a long note will frequently sound smoother if the beginning of the trill is played somewhat below full speed . The trill can be done only with the fingers, or it can be played with an arm motion, holding the fingers quite stifF and using the thumb as a pivotal point. The arm trill (also known as tha " vibrato trill, " since the motion in volved is só close to that used to produce the vibrato) is most useful with trills from the second to fourth or first to fourth finger ( especially the fornier ) ; less useful with trills from the first to second finger • Practice this exercise, designed to develop the trill, without vibrato ; play the sixty-fourth notes with a rapid, snappy movement of the left hand. Also practice the exercise on the lower strings.
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Tremolo. Tremolo is a quivering motion of the bow, done with the wrist, as rapidty as possible, and in the upper half of the bow. However, for greater volume, it is often necessary to play closer to the frog.
Andante
1
2
4
The traditional manner of notating tremolo is to cross the stems of half and quarter notes three times, and the stems of eights and sixteenths twice. However, the student should be aware that this notation does not always indicate tremolo;quite often,especially in the slow movementsof Beethoven,Mozart,and Haydn,the triple-crossed stems denote accurately measured thirty-second notes. From the Symplwny No. 4 by Beethoven.
Adagio et c.
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Quite frequently composers call for a rapid, measured reiteration of each note in a passage, most commonly repeating each note two or four timss. This requires a motion very similar to that for the tremolo. but it must be carefully controlled. From Parsifal, opening of Act II, by Wagner. Heftig, doch nie ubereilt (Vehemently, but not too fast)
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From Orpheus and Eurydice Act II, (also in the Don Juan Ballet Music) by Gluck.
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Pizzicato. A considerable amount of facility in pizzicato can be achieved by learning to play alternately with the first and second finger of -lhe right hand during rapid passages. This can be practiced by playing scales, exercises, and eludes pizzicato, and the eflbrt which is required to develop this technique will be generously compensated by the ease with which fast pizzicato passages will be negotiated. Also, playing pizzicato in this manner greatly mitigates the difficulties of string crossing, often making it possible to use fingerings which would be far less practical if the passage were played with the bow. Unfortunately, the player who uses the French bow will find it very difficult to use the two fingers alternately without putting the bow down ; otherwise the weight of the stick resting against the first finger while playing pizzicato will interfere with the independem use of that finger. The return to ihe use of the bow is indicated by the word arco (sometimes Bogen in German publications). The symbol d, indicates that-the string is to be allowed to rebound against the fingerboard with a percussive snapping sound. This is encountered in the music of Bartok and other contemporary com^sers ; unfortunately, this is also the symbol which one uses for the thumb when fingering passages in thumb position. Occasionally a cross (+) may be seen above or below a note. This denotes pizzicato with the left hand, and ismost useful with an open string when a quick change from arco to pizzicato or vice versa is involved. pizz. 1. 1 2 1 4 1 2
3 1 4 1 2 1 4 1
2 4 4 4
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o i " — i * l o f— a 4 o ' Alternating two fingers in Pizzicato can be compared to up and down-bow— the l st finger being used on the beat the second off the beat. Similarly, during these four bars, since the lower note is almost always on the beat, réverse the procedure, só that the second finger is used on the beat, as the up-bow would be used if the passage were to be played arco.
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96 From the Symphony -No. 4, by Tchaikovsky. Allcg-ro
Col Legno. Col legno normally means that the strings are to be struck with the stick of the bow. However, occasionally the player will be directed to draw the bow across the string with the wood instead of the hair. This is to be found most often in the music of Schoenberg and his school, where it is indicated by the marking col legno gestrichen. In order to produce any sound at ali with this effect, the stick must be pressed firmly into the string, and a larger amount of bow than normal must be used on each stroke. When playing col legno it is necessary to twist the bow towards the player só that the wood com;s in contact with the string. This is done much more easily with the French bow than with the Gsrman. In the latter case, it is suggested that while turning the bow towards you, slide the thumb from the top of the stick onto the frog. With either bow, play col legno at the tip for maximum facility and control. The return to the normal use of the bow is denoted with the marking arco. From Salome by R. Strauss. Sehr schnell
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Glissando. Glissando or parlamento signifies an audible sliding between notes, indicated by either a straight or wavy line between the notes which are to be connected by a slide. Ideally a glissando should be done on one string, but there are times when this is not possible, and it is up to the player to do his best to give the impression of a continuous slide. If a glissando is marked after a long note. it is usually played towards the end of the note, but in the absence of directions to the contrary from the composer, the performer can extcnd the slide to last for the entire duration of the note. From Ein Heldenleben, by R. Strauss. Etwás ruhio-er P
From the Symphony No. 4 by Mahler. Ruhevoll (foco Adagiai
97 Ponticello. Ponticello or sul ponticello (German : am Steg ; French : sur lê chevalef) indicates that the bow should be moved as near to the bridge as possible, resulting in a nasal, abrasive tone. Especially in the lower register, ponticello playíng will often cause the fundamental tone to be lost, almost causing the pitch to sound an octave higher than what is being played. The return to a normal manner of playing is indicated by the term naturel.
From En Saga, by Sibelius. 1
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Ponticello is usually not encountered in sustained or legato passages, but occurs most commonly in conjunction with tremolo or rapidly repeated notes, as in the Sibelius excerpt just quoted. However, there are times when composers will call for ponticello on longer notes. The following passage is from Verklaerte Nacht, by Schoenberg. In the original version, for string sextet, ali parts are marked sul tasto (see below) at this point, but in his arrangement for string orchestra, Schoenberg revised this marking to ponticello.
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Sul tasto (German : am Griffbreit; French : Sur Ia touche) means that the bow is to be moved away from the bridge and placed over the lower end of the fingerboard. The essential quality of sound of the instrument is not altered, but the tone does become quite a bit softer and thinner. Even when sul tasto is not marked, very soft passages should be played with the bow well away from the bridge.
98
Exercises in Various Bowing Techniques.
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Practice lhe preceding exercise with íhese variations : 2 Andante
3 Allegro
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Legato Exercises on two Strings. To be practiced slowly at first, and gradually with increased speed.
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Exercise in Broken Chords, Encompassing ali Major Keys. At first practice this exercise slowly, with separate bows, and concentrate on the accuracy of the intonation. Later it can be played with various additions of slurs, dotted rhythms, or other bowings which have been dealt with during the preceding pages.
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103 Appendix l : Optional Fingering Techniques. The general system of fingering in this volume varies slightly, if at ali, from that found in most of the String Bass methods in current usage. It is to be noted, however, that in Italy it is common practice to use the third instead of the second finger on the central note of each position. Also, some methods published during the last century suggested playing adjacent semi-tones with the first and fourth fingers. Without radical alterations, the student may, if he só wishes, expand the fingering technique which he hás learned in this book by incorporating a small number of devices that may be called upon to facilitate the playing of certain types of passages. Since the supplementary techniques frequently require the player to alter the normal hand position to a certain extent, the student is urged to develop a strong hand position in ali positions before he employs any of these extra techniques in his playing ; if this is not done, instead of supplementing the routine of fingering as they should, these techniques will only impede the development of a secure left hand.
I. The Extended Position. The positions become progressively smaller as the hand moves up the fingerboard. In the higher positions, by stretching the fingers it is possible to encompass a minor third between the first and fourth fingers on one string, a minor sixth across two strings, or a major second on one string between the second and fourth fingers. By exploiting the possibilities of extending the position, a considerable amount of shifting can be eliminated in passages which are encircled by these intervals. The degree to which this can successfully be done will depend upon the ratio between the size of the player's hand and the string length of the instrument upon which he is playing ; if any discomfort is experienced in playing the following examples without moving the hand, a compromise between extension and orthodox position can be achieved when playing passages such as the following by using the indicated fingering and rotating the hand upon the thumb, which remains stationary.
4 2 1 2 4 2 1 2 4 1 2 4
4 2 1 2 4 2 1 2 4 1 2 4
4 2 1 2 4 2 1 4 2 1 4 1
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In the lower positions, as the half-steps are farther apart, it becomes less practical to reach for notes outside of the normal range of the position. Unless the player hás a fairly large hand, it will be very difficult to play the two following examples in one position with accurate intonation. However, this difficulty can easily be overcome by placing the thumb slightly lower on the neck than usual and rotating the hand upon the stationary thumb when the fourth finger is used.
2 (l 1 2 4 2 1 0
II. The Use of the Third Finger Below the Ninth Position. The extension of the hand beyond the normal position range of two semi-tones leads to the next of the somewhat untraditional fingering techniques which are being discussed in this Appendix. Usually the third finger is used only as a support for the fourth finger below the Ninth Position, as it is not considered strong enough to play a note by itself. Furthermore, the hand is só shaped that the manner in which the fingers naturally fali into position on the string is not conducive to successfully negotiating three half-steps in one position. However, there are times when it is decidedly advantageous to be able to use the third finger independently of the other fingers. And while there is no denying that the player is thus presented with a new potential hazard to accurate intonation, the risk of faulty pitch is by no means the exclusive property of the third finger. Intonation, in fact, is a matter for eonstarit concern with ali string and wind instruments ; the conscientious String Bass player is always alert to the danger of playing out of tune, no matter what type of fingering he uses. Occasionally the third finger, might enhance the preciseness of pitch when playing in the highest positions, where the clossness of the semi-tones requires a close cramping of the second, third,and fourth fingers if traditional fingerings are used.
yrtr 1 .* For several d;cades prominent Italian players and teachers have used the third finger in the lower positions. In this system the second finger does not function independently, but serves as a support for the third finger :
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etc.
105 As carly as 1875, a method for the String bass was published in Leipzig, which advocated the independent usage of ali four fingers. This was, Anleitung den Conlrabass zu spielen, by C. F. Franke. This method of fingering did not rec:ive widespread acceptancs, mainly b;cause of the difficulties associated with the free use of the third finger which are mentioned above. But during the last twenty years or só, an increasing number of players have emancipated the third finger, or at hast granted it limited independence. Whether or not the independent third finger should be introducjd into ths techniqus, and if só, to what extent, is a matter which each player and teacher must decide for himself. The following examples are presented to illustrate passages which might employ the third finger to some advantage, either in one position with some extension, or with some slight shifting or rotating of the hand on the fixed thumb. Certainly the playing of the first example, from the last movement of Mozarfs 41 st Symphony, is greatly facilitated with the indicated fingering. Many of these passages could also b: played by substituting the second finger for the third, and using wider extensions of the position.
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In the next example, (No.4), the useof the third finger makes it possible to prepare the first finger on the next String, providing for a smoother legato.
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Example No. 5 demonstrates the alternating of the third and the second fingers in the extension position. ii»l*-
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DAD DAD With the third finger and the extended position, it is possible to play several scales almost without shifting (Examples 14-18 ).
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i 0 2 1 4 l 2 3 o 0 3 2 1 i i i ; 2 'i 4 'i There are times when the same note might be played alternately by the third and fourth fingers.
i :$ 4 i 'i i ' - ' '' » •> <* •» « 4 :{ t o i 3 4 3 i o This passage, from the Symphony No. 40 by Mozart, is again an example of a very ackward figure made much more playable by introducing the third finger.
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Examples 25-29show how the third finger may be used when two notes which are parallel to each other on the G and A strings must be simultaneously stopped,or when it is desirable to stop two such notes at the same time to prepare a smooth legato. In Example 27, the second finger is on the G string, opposite the third finger on the A string, and the reverse of this is illustrated in Example 28. When the second and third fingers are placed directly opposite to each other, it is advisable to lift the first finger, unless it is needed as is the case in Examples 27,28,and 29.
20
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2 1 3 1
23 13
2 1 3 1
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2
4 3
2 1 3 1
The third finger is usually used only in the three highest positions.Therefore.when it is introduced into the lower register of the instrument, it will at first be fairly incompetent in comparison with the other fingers, for its strength and dexterity will not be nearly as well developed. If the player wishes to use this finger successfully in the lower positions it is recommended that special attention be given to improving its power and strength with exercises, for only repeated use ol the tinger over a period of time will bring it up to a levei of proficiency comparable to that of the other fingers. III. Bridging. (See Photograph No. 8) Frequently it is necessary to use the same finger on two successive notes which lie across two strings. This type of string crossing is especially awkward in rapid passages or when a smooth legato is desired.This is particularly true when crossing from a higher to a lower string. From a lower to a higher string the difficulty is practically eliminated, as the finger can easily slide into place.
3
1
107 Bridging, or stopping two strings simultaneously with the same finger, is a wonderfully useful technique for handling this situation. If thr. fingers are to properly depress two strings at the same time,though, they must lie flat across the strings instead of being curved in the usual manner,as is illustrated in the photographs. When bridging in the higher positions with the fourth finger, the player may find it helpful to raise the first and second fingers. from the string. This will allow him to turn the hand slightly towards the fourth finger and bear down on the third and fourth fingers with the additional pressure which is often needed to secure the correct stopping of two strings in this register. Also, when bridging above the Sixth Position, a firmer grip can be achieved by pulling the thumb closer to the fingerboard than is usually done. Be sure not to rest the arm on the shoulder of the bass! In the following Examples, the symbol = is used to indicate bridging.
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In Example 4, raise the first finger when the E-flat is played ; bridge with the third as well as the fourth finger. * Try to keep the second finger, which remains on the G string, pressed during the second and third beats, but if this is toodifficult it might be lifted while playing the E-flat and B-flat. While playing the Dat the end of the second beat, raise the fourth finger, which is again placed across two strings at the beginning of the third beat. Try to keep the third finger down on the D string (but clear of the G when the D-natural is played) during the second beat. Again, if this proves to be too difficult, the third finger can be raised and lowered along with the fourth.
Example 5 : Here, too, the first finger is raised, and presses the string only when the C is played. If the D is played with the third finger, the second finger need not be down at ali during the measure. Example 6 : During the first two beats of the measure, the first finger is raised and the second finger is placed only on the G string ; the D and A are bridged with the third and fourth fingers. As in Example 4, try and keep the second and third fingers pressed ; while playing the C-sharp lift only the fourth finger, keeping the third finger in contact with the D string but clear of the G. If the second finger can be left down on the G string in this and similar phrases (such as Example 4), the first joint- of the finger need not be curved in the usual manner (convexly), for it will be easier to press the string with the flat rather than the tip of the finger when the hand is held in such a position. Or it may very well be that many players will prefer to play the C-sharp with the third finger, keeping it across the G and D string s during the first two beats. Before playing the A at the end ot the first beat of Example 7, place the first finger in position to play the low B. Bridging can be done across three strings; as is the case with the independem use of the third finger, some special practice will be necessary, só that the fingers can be trained to effectively stop a string away from the tip.
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108 Examples 10, 11 and 12 : Sometimes brídging is very useful even if no adjacent fourths are involved. Crossing two strings with the first finger in Examples 10 and 11 and the second fourth in Example 12 is preferable to jumping back forth between the strings with the same finger. In the first measure of Example 12, the first finger can bridge along with the second ; in the second measure, bridge with the second, third, and fourth fingers. While playing the C-natural the fourth finger should be raised and then lowered across the two upper strings. Try to keep fhe second and third fingers in contact with the D string but clear of the G when playing. the C-natural.
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IV. Using the Fourth Finger above the Eighth Position. Traditionally, the fourth finger is replaced by the third when the left hand is an octave above the open string or higher. However, there are times when the fourth finger can be used to good advantage in the top three positions. When this is done, bring the thumb along the fingerboard slightly closer to the first finger than usual; again be careful not to rest the arm on the shoulder of the bass. Earlier in this book it was mentioned that the fourth finger may replace the third on the octave harmonic, as in Examples A and B.
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Using the fourth finger on a lower string than that which the other fingers are on in this register puts the hand in a very awkward pôs— ition and is to be avoided (Example E). 3
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Several instances in which the fourth finger might be put to use with good effcct in the highest positions are illustrated in the following examples. Two minor adjustments of the usual playing position will make it easier to use the fourth finger in this register : Rest the neck of the bass on the left shoulder to give more support to the hand . and bend the first joint of the first and second fingers concavely só that the reach of the fourth finger will be somewhat extended .
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É •l l (l l Unless special attention hás already been given to this point, it may prove to be very awkward to avoid the unnecessary lifting while playing the example; but the comparatively small amount of effort required to train the fingers to eliminate excess movement will be generously compensated by the added facility and smoothness which this brings about. Example 2 : From the end of the first beat until the end of the first measure the second finger should remain in place on the F.
111 Example 3: The second finger is lifted only when the D-sharp is played; ali the otherfingersshould also be raised only when it is necessary.
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Example 2 : The first finger is lowered only when the B is played; the second is raised throughout the example; the third finger bridges the G and D strings with the fourth, and while playing the B it is raised clear of the G string, but try to keep it in contact with the 2 D string; the fourth finger, which bridges the fc y 4* '\ 1* l* l* Hj P l* 1^1* T l* l l two higher strings, is raised while the C-sharp ' ^ *• ^&»*J^-^^a9^f^^^^«_l l i a n d B a r e played. 4 3 1 4 Example 3 : Again bridge with the third and fourth fingers, and keep the first and second raised except when the first is needed to play
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5 : From the Symphony No. 4 by Beethoven. ^ Bridge across two strings between the first fc)'l ** and second beats of the second measure. ^-~- ^ Examples 6- 9 : Wherever possible, avoid lifting the fingers between recurrences of the same notes :
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Example 14 : Do not shift between the second and third beats of the first measure; while playing the E, move the second finger to the F-sharp. While playing the C-sharp and B-sharp on the fourth beat, reach back with the second finger to prepare it to bridge the E and B-natural. In the second measure leave the thumb in place on the E-sharp through the second, third, and fourth beats;and in the third measure leave it in place from the end of the first beat onward,and the third finger remains on the high A from the end of the second beat until the end of the example.
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15 : The thumb can be very useful when figures based upon broken chords appear in the higher register. Lift the fingers as seldom as possible — for example, between the first and second measures keep the first and third fingers set, and only move the thumb ; keep the thumb, first, and third fingers stationary into the third measure, as only the second finger must change its placement ; be sure not to lift the thumb during the fifth and sixth measures, otherwise the slight change of hand position will lose in security ; and só on, throughout the example. If the player does not rest the bass on his shoulder these measures will be much more difficult to play, especially towards the end of the example when the fourth finger is called for.
Example 16 : From the Symphony No. 88 by Haydn. Leave the second finger on the B throughout the first two measures and the first beat of the third measure.
In conçjuding this Appendix, I would like to emphasize the tact that the techniques illustrated in the foregoing — 129 examples are to be considered as supplements to, ralhei than replacements for, the basic fingering system which, it is hoped, the student hás developed by the time he hás completed this volume. The player who hás these techniques at his command will have a decided advantage, for the difficulty of many passages is frequently notably 'essened by employing one or more 'of these procedures. Increasing the range of the hand position will unquestionably be more practical in the higher than in thelower register, as, for example, the distance between D and F on the G string is about the same as the distance between A and B. Each instrument of the orchestra hás its own problems and difficulties ; certainly in terms of the amount of sheer physical energy which must be expended during performance the String Bass is unique. With the same two hands and ten fingers which the violinist possesses, the String Bass player is presented with a fingerboard four times as long and strings about four times as thick. The String Bass player should give careful consideration to every available technique which might be of use in coping with these obstacles, even if it involves using fingerings which vary from traditional procedures, for we can use ali of the help that we can get. On the other hand, I would like to close with a word of caution, which I feel is in order for the student who might be tempted to use the thumb, the third finger in the lower register, or the fourth finger in the highest positions at every possible opportunity ; such techniques should be reserved for the times when they are te It by the player to be definite improvements over orthodox procedures.otherwise they may well end up making
114 Appendix II : Excerpts from the Orchestral Literatura
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WAGNER, Richard Orchestral Excerpts (ZIMMERMANN/ ZIMMERMANN, Fredcrick Orchestral Excerpts from Classical & Modern Works covering a wide range of Symphonic Repertoire l from BACH to DEBUSSY. MAHl.KR.R4 VEI..STRA \'1NSKY) Volumes 1. 11, III, IV. V. VI, VII. Each
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STRING BASS AND PIANO AMELLER, André Concertino BACH, Johann Sebastian Sonata No. 2 in D major Ária in D maj. (from lhe Suite No. 3) Adagio from the Or£yn Toccala in C BOCCHERINI, Luigi Sonata No. 6 in A major Rondo in C major BOTTESINI. Giovanni Concerto (KAXNY-SAKKEY) Tarantella iZl.MMERMA.\.\) Réverie CORELLI, Arcangelo Sonata in D minor DRAGONETTI, Domenico Concerto in A (NANKY-SANKEY) ECCLES, Henry Sonata in G minor FAURE, Gabriel After a Oream (Après un RCVÍ-) Op. 78. Sicilienne Op.24. l lep> FESCH, Willem de
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RACHMANINOFF, Sergei Op. 34, No. 14. Vocalise ROMBERG, Bernhard Op. 38, No. 1. Sonata in E min. (SANKEY/ SA1NT-SAENS, Camille SANKEY, Stuart Álbum of 8 Classical Pieces SCHUBERT, Franz Sonata in A min "Arpeggione" tSANKEY/ SIMANDL. Franz Op.66. Concert Study
4.00
1.50 1.00 1.25
PURCELL, Henry
Op. 43. Allegro Appassionato 3.75
(1687-1761)
Sonata in G major GALLIARD. John Ernest Sonata in l' major Sonata in A minor
String Bass and Piano (cont'd) GLIERE, Reinhold Scherzo Intermezzo Prelude HANDEL, George Frederick Sonata in C major Sonata in G minor Sonata No. 4 in D major HOFFMEISTER, Franz Anton Concertino No. 2 (SANKEY) KOUSSEVITZKY, Serge
Ária
Each 2.50
STRAUSS, Richard Orchestral Excerpts STURM, Wilhelm Op.20. 110 Studies
MUSIC
Op. 72. Scherzo Capriccioso Op. 73. Tarantella Op, 74. Sarabande and Gavotte STEIN, E. D. Concertpiece TCHAIKOVSKY, Peter I. Op. I I . Andante Cantabile Op. 37a. Barcarolle TELEMANN, Georg Philipp Concerto in G major (SA.\KEY) Sonata in A minor Sonata in D major Sonata in E minor Sonata in F minor VIVALDI, António Op. 3/6. Concerto in A minor Op. 2/2. Sonata in A Op. 2/3. Sonata in D minor Sonata No. l in B flat major Sonata No. 2 in F major Sonata No. 3 in A minor Sonata No. 4 in B flat major Sonata No. 5 in F, minor Sonata No. 6 in B flat major
1.25 2.00 2.00
2.00 2.50 1.50
1.25 1.25 1.50 2.00 1.25 1-25 2.50 2.00 2.00 2.00 2.00 2.00 2.00 2.00 2.OO 2.00 2.00 2-°° 2-°° 2.00
TWO STRING BASSES AND PIANO HANDEL, George Frederick Op.2, No.8. Sonata in G min (MKNSCHi
CIIAMBER MUSIC - MISCELI.ANEOl S BEETHOVEN, Ludwig van Op. 20. Septet in E flat for Violin, Viola. Horn.Clarinet, Bassoon, Cello and Bass 6.50 DVORAK, Antonin Op. 44. Serenade in D minor for 2 Oboés. 2 Clarinets, 3 Bassoons, 3 Horns, Cello and Bass. Parts 10.00 Miniature score 2.50 d'INDY, Vincent Op.24. Suite in Old Style. For Trumpet, tvvo l lutes & String Quartel (w. Bass ad lib.) Parts 6.50 Miniature score 2.50 JANÁCEK, Leos Suite for 1 Violins, Viola, Cello and Bass. Score Setofparts MOZART, Wolfgang Amadeus Divertimento No. 17 in D maj. (K. 334) for 2 Violins, Viola, Bass (or Cello) and 2 Horns. Parts A Musical Joke ("The Village Musicians") Sextet in F (K.522) for 2 Violins, Viola, Cello (or Bass) and 2 Horns. Parts PROKOFIEFF, Sergei Op. 39. Quintet in G minor for Oboé, Clarinet. Violin. Viola and Bass Parts Miniature score SAINT-SAENS, Camille Op. 65. Septet for Trumpet, 2 Violins, Viola, Cello, Bass and Piano SCHUBERT, Franz Op. 166. Octet in F for String Quartel , String Bass, Clarinet, Horn and Bassoon
ín
2.50 3.50
7.50
4.50
6.00 2.50
7.50
7.50
VIVALDI, António Concerto in G minor for Flute,Oboé,Violin, Bassoon and Piano (with Cello or Bass ad líb.) (P.402) iGHEDINI) Sonata in D maj. for Flute, Violin, Bassoon, Cello (or Bass) and Piano (GHEDINI)
4.50 3.00
STRING QUARTETS VIVALDI, António 3 Quartéis (1. Sinfonia "Al Santo Sepolcro"; 2. Concerto Madrigalesco; 3. Sonata "Al Santo Sepolcro") (Bass ad lib.)
4.00
STRING QU1NTETS DVORAK, Antonin Op. 77. Quintet in G (with Slring Bass)
2.50 2.50
STRAUSS, Richard Salome's Dance STRAVINSKY, Igor The Rite of Spring. (Lê Sacre du Printemps)
2.00
INTERNATIONAL MUSIC COMPANY 5 l l FIFTH AVENUE
3.00
FULL SCORES
r W O S T R I N G BASSES ÁLBUM OF 12 CLASSICAL DUETS Compiled & arranged by STUART S A N K E Y CLASSICAL t MODERN DUETS Álbum of 24 Duets (ZIMMERMANN) ROMBERG, Bernhard Op. 43. Sonata No. l in 13 fiai (SIMANDL)
TWO STRING BASSES
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