Franz Simandl - New Method for String Bass, Book 1

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

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

ÍXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXJ

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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* 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-

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or:

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G sharp

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2

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2 4

2

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20

Exercises in the Third Position in connection with the previous positions.

4

2

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D flat Major Scale III II l

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14

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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-

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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

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1

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3

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Rflat

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4

1

2

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A

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1

2

4

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2

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F

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i

2

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B flat

4 fa

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tf

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ít^. n

on l 1

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faz

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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

*r

4

r

2

'l

'

U^

ff '

L „

t„ l*-'

p fa

\rr>

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bn

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'

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

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1 k-P

1

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^E=i^^_TE^ ! ^^ • ^^——1

3020

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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

*

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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

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4

4

1

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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

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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— ' 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

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4 4

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4 1 1 4 2 4

2 2 4 4

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4 4 2 4

1 4 2 4

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1 4 2 4

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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

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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

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* 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,

— 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

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4

4 l

4

4

l

l

4

^T 4 l

1

l

2

4

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4

2

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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

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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

\

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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

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V

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t i

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= ==d =E >—=j Mp=Myj==^ o

tn^— -

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n \

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Exercises in the Ninth Position on ali the Strings.

f.ff/ffr/ffiff-fc^" i' 1 ip ^ 3 3

a 3

l

3

O

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\

3

p,

n

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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

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a

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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

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4 1 *

41

4

l 4 'l

1 * 1 2

4

4 2 4 1

4

4l4

2

2 4 -—ri — —t

Pi—

1 2 /» 2 4 2 ' » t

21

s—

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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.

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41

114141 214104

2 1 4 1 4 2 /

4

l

4 14

l

14

41

114142

4 i

2 o /*

3

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2 'i

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1142104

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l

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4 4 l 2 'i 2 4 l "*

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F sharp Minor ^^j l

4 °

° 4 i

l

VI 4

Exercise

l

4 2

4

l

^ -

2

_3

n

xerctse

P

1 4

4 2

1 4

0 4

2

1. ti—e—" * >t

'

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2

»

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1

1

â

l

Q_-W

n

J;

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1

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4

,

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4

4

1

4

1

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!

Exercise 3? l

4

1 4

2

4

4

4

1

4

1

4

4

0

4 l

2 4

l 4

??££ 1 4

1

4

1 4

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4 1 4 4

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4

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1

1

l

t

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1

l i

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D sharp Minor is played like E flat Minor. 1

4

—o—

^ V Q «J it

y w p ift—®— 1

4 * \i

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ftr*

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f

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^

1 4

4

1 4 4

2 4

1

4

4

1 4

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4 1

i

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4 1 4

l 4 4

0 4

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2

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4 4 1 2 4 4 1

1 4 2 Í 3 4 4 1

4

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54

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 : •—

Thirds.

•> . u

2

r , r f | f f if f if

r r ir r ir

1

0

2

.

1

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2

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1

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1

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i iy_..7...M.'.' .... ....T.".~.V"

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1

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1

4

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2

i

4

1

1 4

1 4

2 4

l ' i :' r f 4

1 2

4 !

1 4

4 1

1 4

1

1 4

56 Exercises

h.p. 4

4

1

h.R

ê

2

4

i 4 O

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FcJirrrnr m

1 4 1

4 1 4

3 2 4 1

2 1 0

4 1 4

firrnfrf 4

1

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4 1 4

1 4 1

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1 4 1

4 2 1

4 1 4 1

4 1 4

1 4 1

4 1

3 1 3 2

F=*

4 1 4

1 0 2 1

4 1 4

1 4 1

l

4 1 2 0

4 1 4 1

4 1

O

l l

4

0 4 2

14

l 411

4 1 4 1 2 0 1 4 13 l 311

1412412

rr 2 1 4 1 4 2 4 2 1 4 2 1

4 2 4 1 4 1

441

244

4 2 1

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4 1 2

313

l i l

01

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3

1

3

2

4

1

1

4

l

l

3

1

2

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l

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1 4 3

1

l

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1 4 2 1

1 4 1 3

l

3

1

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1

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Fourths.

r.- f f f f f -e

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3

1

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1

2

1

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67 Exercise in Sevenths.

l

0 1 4 2

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1 2 4 4

l 2

l

4 '0

4 0 1 1

4

2 1

4 2 1 2 4 4 2 l

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1 1 4

4 ^ 4 4

n

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r r

l 244

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r r r rr 4

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1 2 4 40 1 2 1

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A A 4 4 2 1 O 2

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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

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l 4 o l

l

2 3 2 4 0 1 4 1

41

l

l 4

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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

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4 1 3 1 4 1 4 1 4 1

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4

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1 4 1 4

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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

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4

0

l

l

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1

4

0

1

1

40

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0

2

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4

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r

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r f r r^rf |f rrr fr r"r 0

6):

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rr"r r

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1

r i r rr

r

B flat maj

A flat major

2

1

2

2

4

1

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4 2 1 4

B

1

2

1

0 4 4 2

l H 1> -^ V \)

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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

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2 4

0 1 1 2

4 4 2 1

0 4 4 2

1 0 4 2

rxr

£ £ 4 2 4 2

i

4

í rr i

4

1

2

r r ui> j f i^r ^

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4

1

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1

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2 1 2

o

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2

3

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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

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1

4

frrff rff|ffffffrfifj 0 1

2

14

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1

4

1 1 4 .

4

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2

1

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1

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°

4

1

4

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1

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1

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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

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1 4 4 1 1

O 1 2 2 4 4 1

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0 1 1 2 2 0 4 1

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l

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^

Practice this exercise with the following bowings :

e/c.

8 eíe.

eíc.

eíc.

-f

e/c.

etc.

23* etc.

e/c.

ctc.

30

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n V. n V /—

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* 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

^

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4

cresc. 3020

1

A

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4 2

4

2

4 1 4

l 2

l

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1 /i ,

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•_;

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1

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83

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P

1

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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

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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

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3020

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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

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x-

U:>tff| J/2

n_

^•^•i^M.

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=

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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

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, -

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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

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From the Serenade, K. 525 (£//ie Âr/eme Nachtmusik), by Mozart. Andante -i4fr-^

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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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4 4 1 4 4 2

1 4 1 4 2

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.

Etwas ^-edchnt etc

pontieello

Í

P)J

P

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.

2 4 1 4

1 2 4 2 1 2 't 2 1 4 , 1 4 1 2 1 4

1 1 4 4 1 1 4 4 1 4 1 2 1 4 2 3

4 2 1 1 4

rfffffffffffff 1 4 1 2 4 2 1 2 4 2 1 2 1 1 4 2

4

*ir r r r r rrrf rrr r rr 1 2 1 1 4 2 1 1 4 2 1

1 4 1 2 4 2 1 2 4 2 4 1

l 4 2

l (l 4 l 4 2 l 1 4 l 4 l O l 'i l

•l

4

2 ' 4 l l 4 4 1 1 4 4 1

0

7 o

1

1 4 1 2 4 2 1 2 4 2 1 4 'l

. .,

Practice lhe preceding exercise with íhese variations : 2 Andante

3 Allegro

ff-'

(spit-calo) 133333333

(3

etc.

(tremelo)

10 etc.

§ Adag-io etc.

etc.

*l 9

etc.

e t c.

etC.

4

11 e/c.

12

^^c^^^

-J JJJJ

etc.

99

Legato Exercises on two Strings. To be practiced slowly at first, and gradually with increased speed.

l ii_ ~^y* y r\j

— —

-

=*-

^=

^

^

• • H

g

0 1 4 1

a i

4 l

0 1 4 1

l 4

l 4

l 4

1 0

4 0 1 4

1 O

'J 4

¥

etr..

3 'J-

4.

l

etc.

100

41

4 l

41

41

0 2

02

31

4 2

42

2 1

O 2

l 4

a -a 1 0

1 4 4 4

4 2

1 4

Í 2 *

l l

4 1

0 2

l O

220

2 l

144

214 't

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.

101

1

3

2

4

0

2

4

0

4

2

4

0

1

4

0

1

° 4 f l l

l

O

r"i

s

o

4

4

1

4

4

1

4

J

4 1 2 1 4 1 2 2

O

1

2

1

4

J~l4

1

4

2

l

4

1 4 1

l

o

1

2

*

1

8

8

4

4

O

l

l

O

1

't

4

O

4 4 0 4 4 4 Q 1

2

2

1

4

4

l

1 4 4

4 1 2 1 4

l

3

1 4

2 1 4 1 2 4

4 4 * 1 4 4 1

4

2

4

2

4

^

o 4 - ^

l

-i

l l l I I I i /. 4 /. 1-i /. 4'. 1< 4 4 4

y

l

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1

4

1 2

É

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4

1

1

1

4

1

1

4

'i

4

1

2

4

2

1

4

4

4

4

l

* At such placesasare marked with an asterisk, on this and the following page.the octave harmonic can more easily be played with the fourth finger.

l

l

l

102

1

4

l

„

4

1

r

1

4

4

•

_

•

4

1

4

4

1

2

t

4

2

1

2

): ^

£=^

4 2 4

1

«

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4

2

4

2

4

2

4

4

2

l

4

l

4

4

1

4

4

4

2

4

1

III

1

3

2

2

1

4

2

hR

1

*

1

1

4

1

0

1

4

1

*

0

*

4 1 2 1

1

1

4

1

I

0

3

1

2 1 1 1

1 4 1 2

3

4

»

H" * 4 1 4 4 1 4 : 1 2

1

4

1

3

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

f S

4

3

1

4

1

4

1

4

1

4

1

4

1

r

2 1 4 1 2 1 4 1 2

4 l

2 1 4 1 2 1 4 2

l

4

2

1 2

l

2 1 4 1 2 1 4 1 2

4 2 1 2

4 1

4

2 1 4 1 2 1 4

2

l

1 2 1

l

4 1 2 1 4 1 2

4 2 1 2

'i 2 4 1 4 2 4 1 2 4 2 1 2 4 2

2 1 4 2 4 1

A D. j G D- .,

2 1 4 2 4 1

2

l 2

1 4 1 4 1 4

141

4 1 4

144141

— ^ ^4 2 l

2

104

8

4

l

3

1

2

1

4

1 2

l

2

1

1 4 4 1 4 4 1 4 4 1 4 4

l

f'f f fr frf frr r •4

4 1 2

41 2

2

2

4 l

' ( 2 1 2 4 1 2 1 4 2 1 2 4 1 2 1

1 4 2 4 1 "i 2 4

1 '\ 'l 1 4 2 4

2 1 4 1 't

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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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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V. Using the Thumb Below the Ordinary Range of Thumb-position. The effectiveness of this technique will be difficult to demonstrate to the student who hás not as yet studied the Thumb position, for his thumb will not have the strength, facility, or independence which it needs inorderto be used in the following examples. Therefore it is recommended thàt the student should return to these pages after acquiring a fair amount of dexterity in the use of the thumb. When the thumb is used to stop the string it is no longer behind or alongside the fingerboard to give the fingers the support to which they are accustomed ; consequently it becomes advisable to rcst the neck of the instrument on the player's shoulder to compensate for this lack of assistance. However, this is somewhat less necessary if the player is seated. Examples 1-3 Some of the examples which were given to illustrate the use of the fourth finger in the higher positions can also be played with the thumb and the first three fingers.

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VI. Keepingthe Fingers in Place. The player should avoid any unnecessary lifting of the fingers in passages which cross back and forth across two or more strings. In Example l, the student will probably have a strong tendency to raise the fourth finger from the B while playing the three notes on the D string, and also the first while playing the B. l

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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112 Example 4 : The first finger remains in place on the G string: the second, noi being needed is kept raised The third finger remains in place on the D string, the C-sharp being played by bridging. When the B is played the third fingir is raised off of the G string, but .try and keep it in contact with the D string during the first two beats . During the third and fourth . is lowered only

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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