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for String Bass PART II T H ET H U M BP O S I T I O N

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F - R A N ZS I \ I \ \ I ) I ,

constitutes one of the most important In cultivating a technique for concert playing, .the thumb position t h e r a n k o f a c < > n c e r ti n s t r u m e n t . I n t o B a s s S t r i n g t h e these -"un, is it possible to raise fearurcs. for.nl1.by the sides of thc instrument, placing u p ( ) n a r m h i s l e f t .rdcr t. retain the ihumh position, the player musr lay' a c r ( ) s st h e s t r i n g . A s t h e t h u m b m a r b e h o r i z o n t a l l ) / that part of the rhtrmb b"t*"e., the first^joint and the nail o r lirmly, pressing it down to the t o n e s ) t l r f l a g e o l e t ptac".l lightly upt>n the string (producing harmonics manner of setting the thumb. r'iz: to each for iing"r-b,ru.d, I cirnsid"r it e*iedient to .ri" u different term for the firm setting of the thumb' i'clicate the thumb-p
the middle of the ball, is also placed upon

its being so short and 't*'eak T'he thircl finger must be straightened out to be plirced on the string; owing to only in exceptional cases it is selcl'm used independentlv, brit m<>stly'with preparation. Ir used to be em1>loyed strings formerly used the requisite Power and quality of tone could not (t' produce harmoni.r), o, *jirh,h" the use of the third be obtainecl. Since, however, considerzrbly thi.r.rer strings are now used f
6nger is not used when thumb-position

is employed.

in thumb positionon the G string Exercises

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b.

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Copyright 1948 by InternationalMusic Company, New York City

e21

E x e r c i s eosn d s h o r ts t u d i e si n t h u m bp o s i t i o ni i c o m b i n o t i ow n i t h t h e o t h e rp o s i t i o n s

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In order to facilitate the reading, high notes are either written in the tenor cle$,or an octave lower, in the bass clef. In the latter case an 8 or 8-va is placed above the notes indicating that the passagethus marked is to be played an octave higher up to loco, this word meaning that the notes should be played as written.

is played

in the follou'ing

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is played in the following manner

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t

j.-_44-

4 2 l 4 r t

o. 'lty

b.

-;

a-- - -- - - - "--- -; ----:'

rbl -',, --+--{--t

I

l l l t 4 l

I

I

4 0

|

|

2

4

|

t

4

I ?

1l

Studiesin scolesond brokenchords The following scalesare all to be played in the st1'leof the C maior scale'

(, maior scale

ancl play'ing,legatrt B c g i r r b r ' 1 ' r r a c t i s i n gs l o w l v a n d r v i t h d e t a c h e d b o w i n g , g r a d u a l l y i n c r e a s i n g t h e t e m p o C maior triad in thrce part arpeggios Sorall

large ar1>eggids

arpeggios

iq{

'q:"-

i

^

in four Part arpegglos Sntall arpt

tlzEiz tj

54'o 1'tol Chorcl of the dominant

Seventh in four part arpeggtos

.

.-snrallarpc:lgros

r--:---]

N

4?-

r---------r-----

-!.E

t?

r;--14 fr-l

Melodic A minor scale

A minor triad in three part arpegg*ios Small arpeggios

":i" ?tf-:

arpegglos

. t,

'lhi,

F

nrarkcd I

is stopp"d in rlre fourth position with the first finger es a harnronic tone.

6;- i-4

-i-,-s*A-?

4:J

=_)>.17 r___^ 4

1 1 t a l s

prfr?

Harmonic A minor scale

'1--

J

Chord of the diminished seventh in four part arpeggios Small arpegsios , (1 f-:l.-.==---

t^X

L

-{-.

?1+

l-

+

4

-

(l

(i>.'d:-

EF,..,.?t,li Li)

tft

?t

t l

?

C

tr

2ar - - o

?

T-

+

I{elodic D Minor

+ l

o s s i a4

2 4

2 r L t

! + 4 2

?c

+ !

t 4

t 4

I

I F 5I L

I

4

; 4

tL,if

() I

I

I

+ J

,-l-)

Harmonic D minor

I

,,\ 4

:#nG

B flat major

r--rbd -;rz ')

Thi,

€

and this

E--=-r

4

ffi -""r."a t

stopped as harmonics with the first finger in the fourrh position

61

Melodic G Minor

r-aF) 4#i

E fla. major'

-? 1- +-

Ilelodic C minor

f,r+o

r

l? tl?t

Harmonic C minor al-1

f-----r D

1n;]5;a

I

.f;it

+# :J

r-------3 2? CLC_+ J +- arFF--.1-

^ +

* t . >>-- |

^+-

t--1r +_

irfirr-?t-,

^+--

+

-'

f*>--' .

Z + r l

-

' . -l . ?-

r ---__..

+-,t--{-

E:;it

t?ij

--12=

t2

Melodic F minor

Harmonic F minor

3. G major

'---8"

l0 Harmonic E minor

IL>F

F;:,:--

7rra

D{a:rtGIl

tt*

\felodic B minor

Harmonic B minor

)

iG

-=f

il '-?:- --

G r{

*

re* a--t

i tt?,-

f;,;

ttEe'u t - €

;----;;E#

N{elodic F sharP minor

I

2 +-J

-,-t Ltr';X? C--C---

--:

----]_ -i-

i--!

--r-----+---

?Ef Harmonic F sharP minor

I

-1> +-l

l--+-C I

r-aE)fift

1;:r--ar-

---:;

" * t

,-1rEnQt2

,rr+-

r-) - r 4

t

+

l

elodic C sharp minor

Harrnonic C sharp minor

Ir + z'*

:----1r>1lhtP,fG iiilF)(i>--i[:\.1

lr__--_-_r

MelodicG sharpminor

r-------;1;i

rmonic G sharp minor

9U2

r__^_r5--E>;*E -,--4*zT{-

Melodic D sharp minor

._-_"--.a7

'.

2?

F=.J-,7 4

t

"trF-t l-t

-8

l>+T-r

--r

4e{-

t]!_t-r-{$[

Harmonic D sharp minor

r-1--T---.;:F# ' t;f|-)iC-)>

Df*;4>) C sharp major

l

L

.

5:

5t#

.-1,}-'1.2

-;

?

t "

f--

L

----_-]

2 +

() ""':r-\

fr"ro

Harmonic A sharp minor

ik-r-"-l-i

The studies in scales and chords in B major, F sharp major and C sharp major as well as in G sharp minor, D sharp oir and A sharp minor should be transposed enharmonically as written exerclses into the remaining scales and chords, im C flat major, G major and D flat major or into A flat, E flat and B flat minor, the fingering being retained. 982

-r fl

NSH A R M O N I C S E X E R C I SI E Harmonics (or flageolet tones) are clear flute-like tones produced by lightly touching the strings at certain points, without pressing them down. The,v are indicated by an o placed above the figure denoting the fingering or merely by the violin clef. In plal.ing harmonics the bow toucheslightly the strings and approachesthe bridge. The harmonics most often used are at those points of the string where they may be produced by pressing the string down. they are indicated:

Thev are mentioned here once again to show

€

a Notation in the violin clef

On the G string

-u--T--Tffi

On the D string

o'

I

U

On the A string

s 6 ))

On the E string

ct

9

6 :n

this fii|=The harmonics indicated in the thumb-position may also be taken in the,,rlower positions, gralso in the 4th position on the G string stopped with the lst finger +rh

, : nnger Sp-

III l

#F= 4

-

f

o. in the 3rd position with the

l

On the D string one can stop this the 4th finger.

&},

sounds

either in the 4th position with the lst or in the 3rd position with *

On the A string one can stop this € the 4th finger.

either in the 4th position with the lst or in the 3rd position with

On the E srring one can stop this ry-s-t,5s 4th finger.

either in the 4th position with the lst or in the 3rd position with

Besidesthese the following harmonics can be stopped in the 3rd position with the 4th finger: III

g

sl

ffi=

-F *--l-.-

_--_----t-

On the G string

On the D string

III

G

On the A string

On the E string

5() These harmonics are used to ascertain if the instrumenr is tuned perfectly.

First the

'A

harmonic a in the 3rd position with the obtained pure;

4th finger on thc D string

roust be

a"-:=t1+-

then comes the test whether the harmonic a in rhe same position with the III tl

lst 6nger on the A string

5_-

is in perfect tune with the a of rhe f) string.

. , - l ' .

If these are both in tune, the other strings are treated in the same manner. Stop the harmonic e with the 4th finger on the A string

T 1q -==

antl try' if the same t()ne is obtained

III

with the lst 6nger on the E string, i.e

s

T-

III

g

Finallv trv if the harmonic r/ with the 4th 6nger on the G string a s t h e h a r m o n i c r / s t o p p e c l w i t h t h c I s t f i n g c r o n t h e D s rr ring

s

ll.r TE.:--:

sounds thc sirrnc

Ttt---il-

------r

S=

E xe rci seisn th e above ways of pr oducinghar monics l l e g i n b 1 ' p r a c t i s i n g s l o r v l l ' a n d u ' i t h c l e t a c h e c lb o w i n g , g r a c l u a l l y

incrcasing thc tenrl)()

and playing legato.

t.

4 0 4 r ,

ul

+? e? I Ftr'trF

F-r F44 2

ul

-1+

I .-f -+ t4J-

o G-41.

-.|-'-

t-*!

- t f f + +-i=.# --

t t 7 e2i

-

-i-+-+--

,- r=-J

etr.

,Ei

r

2?t

(r(l

3. -r:u_ r a- -

_

+ E

61

4.

t l ] o

(l ) ol

ffig2462

268*66

A) o ,

It"

'rv.+ fLl1-

frt

C

.l

t 4 ? ? ? l

4rr4

, d t + 4 2 4 4

I

4 l

4 l

ff+

| 4 4 z 4 l

0 t 4 6'.

Iy

,' E

7 z t t 4 r r 4

D------- t|-

4 o 2 4 :l

0 4 o 1 9 4 4 o 2

5.

6-n 0 o 4 4 o P

r

|

4

l

l

4

|

|

o l

9 t 6

:J

o 4 0 r l

o t

o3

( f 4 l l

t

o

+ +

\ 4 2 \J

0 :I

4 a o 4

4 r t r 4

t

tv.

e r

t.

t

l 4 l

tt o ?

I

1 o 2 7 " :J

,

1 t 4 l

a

C

(rl

6l

4.----------.

----.

o

r n g r

t

L

o

t.

6 *3 6

Tad

d 6 2 1 4 r

t.

r---l

O , 1 t

O

r 4 2 4

l 1

1 r

4 o i r L

o

B

4

0

2

4

0

2

4 6 t 6

:l

----.ll

--

It) ----

7.

f ; - *o gt - q , : 5 8 6 ' 6 a i" t i o o* c 5 : ,. , J4 n,---L - ))

E=-A_T-T-0-

8.

4

t

{

l

6at

i + o ' z + 6 2l 3

il|.

(

/

3

u

"'

46"6

L

l:,!vi

*l+

Uo 2 4 | t 4

f f t l rt i r a z

s

A O A ? v 8 v

6or+a

;i6 2 t E

T-rF

r

O

o

3

lil

? 1-

E rt I

,

I

63

2

4

0 4

t

4

o

1

I

\

t J

I

U

4

l

o

N 4 ; ?

l

D------"--''-'_-'

o + ' r $

o

t

4

l

l

4

l

' 3 6 r { 4 o +

L

$

r o

d

lfro

l

: i 6 r

6

t

l

u

o3

'

oZ

O 2

? d

3 6 ' t r-;----;----l

6

o

|

' I l

lv.

4

l

|

l*.+ 3

4

f,tot

J a l

D--'--'-rn 7

0 l

l

{t 6

9. rr' /-_l

o ' t

4

4 l

o t

o l

4

.) ?

6

9

:) *-{ :r o t

0 l

o

!-t

I

6

(J

v

lv

Y lv

o 4 t t 4 l t t

,--- /7 r 4 l t . r i r

( rI

o.a

\ r

6 \

-vI=j

\ refi 2

|

2 6

.t].{+

?

6

r

$

o l . 3

r

u

6 g

-l?;''-4

tr2

!\tt'.

a-a

4

2

t 4 t

x

4

r

4

f-l

i=-..

l A z 6

\ n

/-t

'iiz-t+

z''+ u-=\-

,'-/, a I 2

4--

s

4

?

o t

2

4

:

.

)

1

0

o

l

4

o

4

l

I

t

I

l

9')-1

A

1dt

,''2

t

j

o

..-f-

/'->.

?

d

o

?

6

./'t

t

^---..

o 3

t!:

4

o 8

?

tf -- *__$=-

1

o

'-u'/-r

?\

?

C)

D_ ,-^ a !

l

a.

_L{=

4

?. ?

l

I

4

/-^

I

1

67

t

4

t) I

I

l)

l)

j--\

A

J-^ ;----.

I

2

o

3

a f

t> fl

t t

l

4

l

l

t

4

t lT.i,

O)

H o r m o n i c isn t h e h i g h e stth u m bp o s i t i o n lies the other fingers will produce or stop the following

By placing the thumb on the point where the harmonics:

On the G string O ' O

!o a----

On the D string

flg

*hg

:

On the A string

'o 3

On the E string

As these harmonics can also be produced in the lower positions, these are suggested in preference to the orhers, as in the first place, they are more convenient to stop, and secondly, the fingers need not come into contact with the resin which always settles on the strings near the bridge.

H o r m o n i c isn t h e 2 n d p o s i t i o n On the G string

On the D string II

Position of the hand

Position of the hand

.."iq: Sounds in harmonics

0

r

$

3bg

Sounds in harmonics

On the A string Position of the hand

t

On the E string' Posirion of the hand { r 0 ? t

Sounds in harmonics

o l

Sounds in harmonics

The harmonics marked * must be stopped slightly higher than the natural tones in the hand positiooqa7

66

in harmonicsin the second position Exercises I ) a

l.

-.t'--

4

D

(;

+'

G -----------

D

,,1

-ff:]f t

,

t

t

:

-

-

l

I

1

1

)

3. (f

'

l)

It:

3 .- ----

i

': +

.

tt ?

, t 2 t, I

I

+. a

+=

tQ,)

lt\

6.

0 I

-{'-I

6;

The first position 'fhe

l i r s t p < l s i t i < l nc o n t a i n s i n s m a l l g r a d a r i o n s s e v e r a l h a r m o n i c s , a s f o l l o w s : E i 1 3 h to n t h e G s t r i n g , b r r t o n h ' s i x o n t h e D . A a n d E s t r i n g s , o u ' i n g r o r h e f a c r t h a t t h e o t h c r h i r r m o n i c s d o n o t r e s p o t r c l e a s i l y ' u o r s o u n d c l e a r o n t h e t h i c k e r s t r i n g s . A s r h e s e h a r m o n i c s l i e v e r l c l < ; s et o g e t h c r , i t i s e x p e d i e n t to use the four lingers in producing them. as will be seen from the following examples:

I

and in rhort shitrs ro

L

Position of the hand

:

3

2

On the G string

-----{t--

sounds in harmonics

(, -_+----{r-

--

3-

-_2_

and in short shifts to

Position of the hand

On the D string

sounds in harmonics

and in short shifts to

Position of the hand t, :l

On the A string

i

; -{. sounds in harmonics

and in short shitts ro

Posicion of the hand ( "t

i i

On the E string

sounds in harmonics

f

0 :t

r !

l

t

l r

' i

i

t

6B

E x e r c i s ei sn h o r m o n i c isn t h e l s t o n d2 n d p o s i t i o n s il

t.

Q

( i D

E

(f-:l

II

d

It

4)2 (L

t

_ u._.r

?

D

o 2

o_ r_ 6_o 4 4 "

I

l, ._{F t 1

G

2.

?

:I

(] 1?

?

(;

2

T

-i--u

-_o--lT_'-|'-_n l : i : i '

3

( i D

2 +t-

1 , ,_ _

? 4-

;,

'l-

&2 t-

i-'{-{.__-__t___l

G tl

1-

---1-

6()

4

q

e t!'i'-ri

D

1

2

4

?

-

n G-*;

1

4

?

r.t G'--'---;------------a-"-'

4.

D

:

5. I

E p'

*--- 2'-"-'--;-"--"--a

a 9'*--'o.-------

t

?

1

3

;0

6.

t i i

I

o 2

9

1

3 i ; i

I

t . t D

A

t

A

A-.-

& ) a o---- (t4

l

I

G major scale through 4 octaves

F'loueolel

]i't n Eli o o 4 I ? '['hunrh

n

D-'"

{f---o ._9-.--;-

4

r

?

'

posltl()n

:ii,!i ,; t! .t r)

D major scale through

4 octaves

J , i 4

: J ? l

D

l l I ) a

I ) A

t

;l There are also the so called artificial harmonics produced by pressing the string down with the thumb and the following tones lightly sropping the fifth, fourrh and third above with the 2nd finger (flageolet-tone), resulting: a) with the fifth, one obtains the fifth an octave higher:

8" etc.

actual sound: C

---- -r

etc.

Notation:

Exercise

b ) with the fourth one obtains the same tone two ocraves higher

a

bo

actual sound:

Notation:

Exercise ( i

an octave higher c ) with the third, one obtains the tenth '-""."'..

I

actual sound:

Notation:

.'.'

f<>

flo

Exercise

? t

a Only by combining these three varieties is it possible to play the chromatic scalesin harmonics, as will be seen by the following example:

with the fifth

with the fourth

Exercise (

r .( (

with the third

ARPEGGIO

- f

Arpeggio is the namc given to a broken chord, the notes of which are played across two or m()re strings and melodicalh' bound. As the arpeggio enables the player to produce a variety'of a slight emphasis on the lowest, i.e. the fundanrental tone, to fingers remaining cln rhe strings whenever possible, while the manner, most of the action proceeding from the wrist assisted

effects on the string bass, it must be play'ed with be followed t'ith elan by the higher notes, the upper-arm must not be raised in a noticeable by the fore-arnt.

Exercises .-=-

/;.?_.-?.-?

/-,

a z ,T ' ,--'-

.--T-

.--;-

,t'C-

/-=

4:

i-t ta 7n, '.-;

)

i. 4 r 4 4 /"7

| 4r /' .^

.'-

2.

1 2

? t_

Various bowings etc.

b.

etc.

c.

etc.

d.

2

:r

- t

ix

,?or-\

v3"

t o

2 4

---\

--\

4

|

O

I

-;\ /

/;

r'J

DOU B L E - S T ON PG PI Double stopping rarely occurs on the string bass,yet it is not altogether unimportant to get familiar with it. In double stopping the chief thing is pure intonation: the fingers must strike the strings simultaneously and st<,rpthem firmly, the bow also tr>uching both strings simultaneously.

t.

:l

!a IJ

e 15

2.

3.

In double stoppings marked with an *, the

982

is stopped with the 4th 6nger as an exception to the rulc-

:6

t--.

^l).',)

tt

J'l

J
7ll

4. "rf

:

<:>.

E--

"

<-:>

-

lt<

t^l |ly)*l-

te a -=-

\

Z->_

Nloderato

,.----fr1

a .-

I

e ae- e,

|

+t

f--\l ._ . 1 ) !|

|

ar--\iT] '

|

ajt

4

'----J'

r

-))

-

J-.1 JV

5.

(, 4

I

l---I

e'

ti

II

e -\l

.l

I

I

J

J"-r

nf -=-al

., l----'f:i

I

n r 't t ! Pr"^po

4 I

I

l-\l

ta

I

2'lla

I

I

I

e

acceleranLlo

L - - - t l - - - - l l--.1 e.- J 2fid ?#! ||p---_

-

T W O C O N C E , R TS T I J D I E , S

T TT--1

E- -

r r-

r-r+

- r - -

_-_-=:-

-

f

X

llE' ?r. --'-;pt -=:,f

=-"f' .C?

===>

<-J

|

-f Un poco meno mosso l ' l i r s e r r l e-t . -

ai

a\} /-l- ' i' i - , -f t : -

) .

a i<-.

irr*

==:--,..-\ ^ ) ) ;

\

+--*-

f-

: : . . :

+

),--. Uz

Un poco stretto >tt

r?>

-l

79

II. illoderaro

_ g)

D;ar-:

n

//!/f --=:=-

-=-\!},;;.-.

l(io\

I

,;

.?it2 =t. t-

OF'--

_

-_

_

.rl"2i)'t

.----.

rf: =i1li

.!It

'D;sn

-*

---,--].-:

';,+r;iFErFFi* r";r+#$'l+ --

tt- l .l

, __---.-- ht\, rtat?tat

7lnt22);

f

lt

]f{eno mosso

dolce
PI'

a.

Tempo I

-----T-:

.lilo?

-/T--.liltlF} .-

---\

f

lttt

i-)t

-r ,---. \-\ rlee

-tl

-----fl'

ilit D;ar;^l*r\.--

Ia.;>

r1

I

I

r( )) |r

Andante

guasi Recit.

.\ a: I l.;-.

a^\

t p, \

Adagio, .^.br. -

J,-

A-^-

-- T-

7r=:-:=

i TempoJ


----T-:

I*

stretto --.--

-==-.}\

'---

-----T-:

l-ji.

-l-.

lE)c

.??1C*l::: \P n,Pn?

r'ee-}.^

-!t

tl i m in ue ndo e rit artla n tl o

$

---:-\-

ntolto ritarrl.