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NEW METHODF O R S T R I N G B A S S

Newly revsed and editedby STUARTSANKEY

P A R T l

No. 3020

Xxxxxxxxxxxxxx

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xxxxx

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XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXJ INTERNATIONAL MUSIC COMPANYl 5 1 1 FIFTH AVENUE NEW YORK CITY

Xx

xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxPrinled in U S.A.

,:^ ,^a"2;'*a!"i!:*'isMa;*sa'Ss;"5^ *2'*5!?'i"J"2i"a"2'*i"ai4sK

Mmnmmnmmmmn

m

HlM

mwMnwmmmMMMMMMNH

nmMMnmMMnmMMM

Preface 3

Illustrations 4

Explanations of Symbols 5

PART I. THE POSITIOXS 6Exercises on the Open string.s The Half-Position and the

Other Eleven Positions The Major ScalesPART II. MINOR SCALES AND EXERCISES 46

Introduction of Legato Bo\ving

PART III. INTERVALS AND EXERCISES 54Thirds Fourths Fifths Sixths Sevenths Octaves

Chromatic Scales Exercise on the E String Shifting Exer-cises Exercise in ali of the Major and Minor KeysPART IV. VARIOUS EXAMPLES ANDCOMBINATIONS OF BOWING 73

PART Y. SUPPLEMENTARY BOWING TECHNIQUES.ORNAMENTS, AND ORCHESTRAL EFFECTS 84

Spiccato Ricochet Portato Grace Notes TheMordem The Turn The Trill Tremolo Pizzicato Gol Legno Ponticello GlissandoExercise in Yarious Bouing Techniques Legato Exerciseson T\v Strings Exercise in Broken Chords

APPENDIX I. OPTIONAL FINGERING TECHNIQUES . . . . 103The Extended Position The Third Finger Bridging

The Fourth Finger in the Higher Positions The Thumb Retaining the Fingers in Place Combining these Techniques

APPENDIX II. ORCHESTRAL EXCERPTS 114

mmmmMMmMmnMmmmmMMnmMMMMMM

mMmmMMMnMMMMMMMmMmmMMmMMM

>!^ *p!^ "*!^ w"!^ *!*!;^ :^ w5;L

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, FirstPosition. Notice that the distance between the second and fourth ingers is no larger than that between the firstand second ; that the thumb is paced along the left side of the back of the neck of the instrument;and that thethumb is opposite the second finger. 11. Position of the player in performance. Notice that the weight of theplayer is equally distributed on both feet : that the elbow of the letl arm is held in a relaxed manner, lowerthan the shoulder ; and that the bow is held parallel to the bridge with the stick turned slightly towards thefingerboard.

. ,._

(Posed by Gary Karr)

SYMBOLS USED IN THIS VOLUME

PI Down Bow V Up Bow

Notes included under a bracket i

h. P. Half Position.I First Position

II Second PositionIII Third PositionIV Fourth PositionV Fifth Position

G 1 to be played on the G stringD 1 to be played on the D string

l are to be played in the same position.

VI Sixth PositionVII Seventh Position

VIII Eighth PositionIX Ninth PositionX Tenth Position

XI Eleventh PositicnA 1 to be played on the A stringE 1 to be played on the E string

O open string l first finger 2 second finger 3 third finger 4 fourth fingerOl as a harmonic with the first finger

O

O2 as a harmonic with the second finger

3 as a harmonic with the third 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-bowposition and vice versa ; also be sure that pressure is maintained by the bow upon the string during the rest.

D String- A String-n

)-

Exercises on the Four Strings in Various Rhythms.

1. ^ ^^

^-o-

In the following exercise, use a smaller portion of the bow on the quarter notes than on the half notes.

n y n v n v n V n V

=P fupper halfof the low

n V n V n y

lowerhalf ofthe Bow

l TT~n

r r r ! T rlowerhalf

upperhalf

Start this exercise in the upper half of the bow : again, use less bow on quarters than halves.

n V n V n V n3. r

f 1 1 fi

-J U f] ' T

r r ^ T r ? m$

f -i r r -i r i i r ' r ' -' r * ' ji j-i r ' r ' ' r i r r i^ m

The Half Position.

G string

a 2 , 4or:

J* ti

or:4 o l , 2 , 4

-O- -o-

O ti sharp A A sharp A flat A B flat D D sharp E E sharp D E flat F flat F

C0 1

TF 1/' i^ " JH

2

1 G

4

frgB

or:o i

' o W

2

br-4

1 1 \

d or:0 1 2 4 0 1 2 4

K Esharp Fsham F uble E* sharpA A sharp B li sharp A Hfc C flat C

Exercses on the Various Strings.11 is suggested that the exercses on this and the following two pages be played

at first pizzicato that is to say, plucking the string and not using the bow.On the G String-

F G flat G

h. P. V B1 ') 14 VI'j \

-1

'11

1 2 2

__ i L

TJ-U- J

2 1 1

-n, tfz s r^P Uo 1

1

-* ^-k^ -^

7"

4 0

G i

r4

(9

b^r '

2

~tf '_5-5

'J

^- 1 SJ1

~*1 L rt 1

n n 'J v > o i^ H

-1 ' 1 1 l ' ' "1 4 1 2 1 4 0

n ri FF1;>

P

l

e

e >T n r?T 1]j. j. u. * e un

4 2 2 1 0

'T P T3 ftP I I 1 I I 1 1 l i

On the G and D String-i ( D

rn- lD

1 0 4 1 0 4 4 1 0 0

While playing open strings, keep the hand close to the string, ready to play the next note.

2."ST:/ (/ jP H

S 1 P nl9 1 P 1 11 ** 1T 11 re 1

s rtt"hl_ .

=f=i o 1

0 1 O 0 4 2 4 0 2 0 1 0f" Do not raise the hand from the G stringL While playing the open D string

T 1r F P~ 1-p 1

_

|_p 1 PI P 1+19 P 1 9 p

0 1 0 2 0 4 4 0 1 0 4 2

:Do not raise the fourth fingerFrom the D strin; rturing these 4 measures

L^ to to4 V o 9J' (' r.'

H-H-Hti ph^ H Y pi i

t^ dx-, bo

4 1 4 2 4 4 1 0

n*

H

1 1 2

H iH Q 'j

p-iL to

, "j

2 4 4 0 0

^ hH i^H p-[j t/o

1 2 4 0

* H 1H j

1 2 4 0

On the A String-h. P.

V*L g k?1 2

fcV .,~^ \~j ~f- r.

~T 1 1 1~J ( / cJ J

b-p

0 1

J4 rtflr. fF1 2

1 1 1 1_^ H/J d .

r te4 1

__L~ r

2 4

1 1j" C

1

0

-^

=

|

p-

4

2

-4-^

| ^-~1

uu r.v i

F

1 1

"77

2

^

1-?

1

^

4

^

1 tcr; f"0 1

-^ 17

2 1

i-f,

*

0

1 1

0

On the G, D and A String-s

^ p L-

10

On the E String-h. P.

=F=A

^-O- ^= 1^= ^J J

^^o i

2. ^M4r 1h f ^ 1 li 1 1 ' 1ii 1 l 1, 1 d l

2 i ^ *" ^ 4 *V 4 *2 }K *2

o ^y /* T i u p r-1 1 ir-l *JJcJ ^ l|o "fe

j i1

_ 1

-n-J '.W v* ^ O U V ^

1

DnP|0

ri-4-\-

2

F^~

f-p-\-

0

-H

Hty

4

-^

*-ip*i

c

4

r*

)

*-)

o

J

2

V

0

-

ltt

4

1*

H

(

'

H1

J

_L

JJ

L

(

0

Vf

2 -!

U-f-1

0

1

t

__tL

4

1

J

2

-^

|

o

4

^

-eJ2

^

2

(

;

)

l1

1 0

1 1114

' 'Jj

2 2 0

H no4 2 0 2 4 0 0 4 2 0 4 0 2 4 4 2 0 4 2 4 0 2 0 4

n v v nq ^o. ^

A ^4. ^

(>s

4^-

^

*~

-,

'

"7-

4

1

-

f-\

-0

fF

i.

Ml g

-"

-

* .

f4

T~

f

~|

H

-

4

1

J:

4

9-

-4=s

(,'-

-4=

c>-

4

-Tl--

hJ

-J-

t*

T7

--

|

rr

2

~

i"

-!-*

p1

VE.

r-

0

D "T~H '

-F-

-P-,

~=r= =^~J

"> * J 1 *

-] | jJ *

4

-J~

-f f

R ^

-l +-/u

ifr--rh

4

f

r,

y

=r4

*-

i

-p-

4-

-f4

Tf0

=f=f^ f

-J

j

1 h-

nsl-

_j3- K

^

1-

>

w - .QL

4 f."~rw

Hl fr*

- -2-

-mm=M

-

t

1LL

i

5 -^

4

-j

>

O1

m J 1

: 1

\.f

h-] i-H > '

_ J P P * 1

B!> Major Scalec \ ..-^ b o *-*

i *

0

Tf 0

1 *

O *** ** C

Q *- * li ** -

" e nA" t i

O

0 4

Q

1

^(JJrlJ7.

r r i f j f r i r r r rUJ- i f iP f f^

3020

* t frequently happens that after ending a phrase down-bow it is necessary to begin the next phrase also on thedown-bow, although there is no rest in which to retake the bow. In such cases a short pause in the sound willoccur 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.

12The First Position (I)

In moving one-half tone higher from the Half Position, the hand is placed in the First Position, which containsthe following intervals :

On the G String- On the D String-

aor:

i,fc}

yf

P P

* LP p kp_1_1 1

b-p- 1 2 4 1 21 H p frp f IHS q- s

"I I I I I1 ' '

A A sharp B A B flat C flat K E sharp F sharp F flat FOn the A String- On the E String-

C , or: . d or:1 2 . 4 !, 2 4 1 2 4 1 2

^ v- 6 t i 1 i-jw lnJ h f j fc-^ H 1 1 \ 1 -P h=r1 ~r4^ H d~P ^ ' 1 " JM fr& 9-G> &&

B B sharp C sharp C flui C I) flat K sharp < ; G sharp G flat G

Exercises on the Separate Strings.On the G String-

6 L ft j?^2 6 .tis t] f? . o kf J^2 ^ ^p Q .P f? ^Tp.. p gp r> i -FttJ P =p=^g- -^^

r r g j g >-1 0 4 2 l 2 4 0 1 2

M=f4 O 1 2 4 0 1

G Major ScaleI

iY }}./ ,-, o

0 1

_ e u

2 0 1 *

SJ e r, -f: \ 4 1 0 5i e r, [

l*-\I B /> i2. y ff (/ !

2 1 0

r i0

p ^ I-F H

4 0 2 0 2 0

14

r iii~ io o

r 1

! 2- *^

O 4 'l l 'o * o 'o

O l 2

fe

13

j J u J J ra o i o 2

PTT r r i r r irg r r rn f r r n r r

J J J , , 1n j J J5. p

'

O l 2

J Jr r ir r ir ?n m

V n v n

mIn the following exercise, while playing each note, place the finger which is to play the following note in position toplay that note. Whenever possible this procedure should be used, for example, in measures 11 and 12 of exerciseNo. 3 above. Also, while playing open strings, have the fingers ready to play the next note. Practice this exercisevery slowly at first.

*J ir T u *[' i

14Exercises in the Half Position and in the First Position.

I , h.P. I h.P. I h.P.-^U-I 1_

4 4 2 1 0*

4

J

2

H^=p1 0

Y r

4 4^

1?

2 1 0 4

-}-T-1 s p i

4 2

-) r1 J J. '

1 0

h.P. I h.P. I h.P.m

0 1 l 4 0 1 1 2 4 0 1 1 2

n. r. 1 i

15

h.P.z^

TT- TV

-**-

h.P.

m

41 1 1 *- O l 2 O l lO

331-**-

O T1., 4 1 4

m0 2

h.P. ii ~ 0 1 S

h.P.P w%2 l a 4 0 1 2 O 4

On the G string"

The Second Position (M)The hand is placed in the Second Position if it is moved one-half tonehigher than the First Position. It embraces the following intervals :

On the D string-or: , 6 or:

|On the E strine-h II

-*4v-p i -^=a1 ^ J

i 1 sJ 'w^f= i^ =J-^T: l J ^9frS |h^ H ^ 1 1 _* U

16

Exercises in the Second Positionon ali the Strings.

r,, f 3 iT V f>V o l-U l 4t* l l | l f II p [P l P | f J : rt1 y C

i'* f "

'

0

I n

n

1

po 1 '

0-2

=pH

p i

e

Q

n-1H*

i-r

t-

II

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.

17

1.I

- '

p. t p1

11o pp'

T \ r1 I

, 0 .Ji.Re

9 1 i

iin (^ rr-^

G

h. R

L-W fni ' 'P i h. R-

.

I

1 h-p n h.R I II h.P.

rJ P^

2 4 4 1 l 2 1 4 2 1 2

II

=gl 4

I h. R

1 4

II II 11-64 j

4

1 1=4=

1 1 4' o

2=^=4

/^

1

~k 2

p

1

'!

4

p hrj4 2

r i 14

1

T ri * ii ' * i - HiExercises in Various Rhythms.

II1.

2 l

n

l 4

* r r i r r r r , j i*i* SI4 4 l 0 1 2 4 4 1 on

2 l

IIn

I II

^

-t +-+-** r - i r I T L T* 4 1 4 o l l

^1n v

2.

ln v

4 2 4 4 2 0 4 l 2 l 2 O

h.Rn v "T- U

4 2

11 f > > . .r i r r r r f j ,-r igSS4 4 4 1 0 2 1 0 4 0 Q

^

J

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-or:

>f p flp jtf- l' r T r p i

On the D String-b or:

C flat C Df la t B B sharp C sharp G flat G A flat Fsharp F double G shan)sharp ' *

On the A String: On the E String:or: or:

2, V - b

4 1*7] r-

J* ^ -3 K 9 'H tf^

2 4

t=ST; fr s

1 2 4

\TT TT" 9-61 2 4

1 jj_X O T-1 ^

D flat I) E flat

On the G String-

* IUIW -&

C sharp C double D sharpsharp

A flat A B flat G sharpsharp

A sharp

Exercises on the Separate Strings.

e- 1

-\

rfr^5> .-to 1

n -

f4f p f pp \\f P 1 1 p r T i ' T ' l [ *r r l r rr^4 1 2 4 2 4 2 2 4 4 2 4 2 2 l 3 4 4 2 22 4 2 4

2 4 4

3020

20Exercises in the Third Positionin connection with the previous positions.

4 2 j l

D flat Major ScaleIII IIl 4

a 4 l 4 1 4

4 4 1 2 4 4 1 4 4

II III II

l 4 1 4 l 4 1 4 ^ 4 2 1 1 4 L' l 2 1

1 2 4 1 4 l o l 4 2 1 4 2 4 1 4 l

1 4 1 4 1 4 1 2 1 . 1 4 1 , 1 4 1

4 1 4 2 4 '4 l a '4 l 3 '4. l 2 4 2 l

~T t"-AM* f

1 .t ^4j; L

_/!

-P-1

3 1 Hln 1

1p- e rfn^ .

1 4

2 4 1 4 1 4 S 4 ^ 4 4 4

1

1 4

-^ 1

1 4

L J

1 2 4

f-11 2 4

^ 1

|f P |-\

2 4r3 1

Pi et-*J ^1 * 1 S 't 4 ^

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

In keys of three or more flats or sharps, a choice of fingerings is frequently available. In this volume, the fingering whichwill necessitate the smaller amount of shifting hs been placed above the staff. If the D flat scale is begun with the firstfinger, it is not necessary to make a complete shift back to the II Position to play the F ; this notecan be played by pivotingthe hand on the thumb, which remains in the same place. The entire scale may be played without tnoving the thumb, bui

21

A

... j-

*^

-*J:T

1

.

nain

f C41

13P=r2

'

1

r

n

i4

1

4d

1

11

1

11*-

4

1 |

f~

4

-"-

II1

'|

*

0_ 1Z.

0

P~~l

-

~tTi4

1

i

r

0

IIp"4

-

-

*

4

-

-

4

h. P.

4 1

1 4

p

-

4

-jjjTf

1 4

1 '*

I1

f

1

1 *

4

0

1

r

I

4

0

p

4

^

"j

1

4

I I I

-J

ir~

i

fi4

[II2

211

0~

0

1

4

1

^J

-,

i

Pr

4

4

-*

(?

4

P

1

2

0

II

2

V-k

'11

o

4

1

w~

'

=

4-

,-

0

I

Fji i

K

I

1

1

1

11

i

rj-

-

M

I4a*1

9

1

2

[>

I

1

1

i^_

1

r^

4

II4

2

4

2

V

4

rr

h

1 r

I

2

0

*

II1

";

.P.

1

4

I I 1

1 S

4

1

-^

^

-p-

Ii

4"p

1

II, t

:

2

0

1

f-

11

1

1f4

>H=^

4

4

'

*~f^~

]

2f.

0

l

1

1

'

-

f+-

12

l

r-

'

h

* -i

1 (

nH2

1

^

1

|

1

)

t

4

2.

4

.,

:i

-L-j-

p

4

4

01

nrr

^~

III

-o

h.l

p

4

-f-E

^-

1 n

n H> *

'III

2 4 4

p

i [ - -1

10 , *

o 4 2

1

= \ 14

*~kp 73-=l 4 4 l 4 1 2 4

^ i_ ~ ^.

^ l 4 2 4 4 4 0 l 4 j 4 l 1 1 2 4 1 2 4 0 1 4

4 1CT \ ' -

t n p 1

m J

l=^ =L^zd

4 4

^

-

1

1

4 1

TFT1 i ' gM=! r^ r' i

| -p L- . 11 r T r i

L_ |

1

-j 2

ml 2 4 4 l 4 4 2 1 0 4-^-^4-i l>

2

o

4rn~~

i

1

*-|n

*-

*1,

4

1

2

Ffrl-"4^

o-

-h

bar/.M*-

1

LU 'L^_ir/M

t ri>

i&-' T|

U

In the above exercise, the student must be carefui to play the ninth measure and ali similar measures with short but smoothstrokes of the bow, especially on the eighth notes. However, in such measures as the second one, a fair portion of the bowmust be used on the third beat in order to retrieve the bow sufficiently to play the next measure. In this case, be especiallycarefui not to accentuate the third beat.

3020

J

22The Fourth Position (IV).

On the G String"or:

On the D String-6 or:

v f bf *f' 1 ,12 *

*r T=J 1 1C D flat D B sharp C sharp ^rp1"

On the A String-C or:

1 2 4 1 2 4^ J- Q l/ rj v V _i M ^ n r j \ f

D K flat F

On the G String-e L I V l

tf f T_x , j

i L 2 t,* i ,2 4 i P -^ ^ fa xf; ^

G A flat A FShUble G sharp G doiib^sharp * sharp

On the E String- ^d or: P

1 3 4 1 2 4. . , =f&

^ f / ^=^ =* W xc fc ::'

23

Exercises in the Fourth Positiontogether with the preceding positions.

TV Inr r r f i f f r v III

2 2 4 1 4

IV

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

" " i ' TR 'ii 2.2 4 4 l 4 4 1 2 4 4

IVI

-- ^ -f-lr-l

1

'

o

IV

1

p

4

,-

1

P

2

=p-1pV, f 1Jf^2

pntf-

4

,-,p-.Hnri

nH p~~i i*=W

M=LIV

^ 4 4 l 2 4 1 44 ^ 0h. P.

s r r n r r r n r4 2 1 0 1 1 4 1 4 1 2 1 2 1 4 4 l

r i r r r r i r r r r i E h.p.m4 4 1 1 4 1 2 1 4 2 1 1 4 2 1

r n r r r r i r r r r i r r r j i r r j r i r r j j i r j j jD Major Scale

oO

**

-o--O-

IV III IV m .iHE2 4 1 4 2 4 1 4 2 1 4 4 1 4 4 1 4 2 4 1 4

3P

3020

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 oneposition to an adjacent one, and is especially appropriate af this spot, as immediately after the half-shift to theIII Position a return is made to the IV Position; furthermore, a half shift to the next lower positionis slightly easier to do with accurate intonation than a similar type of shift to the next higher position.

24

6.

o l l 4 1 4 ! Q 4 1 * l 4 l

A Major Scale^W ---^ R Tf 0 "

n *-*4 4 a

r f, i e r4 ;J 0 n Q 41

h.R l o

i): fl jj -^ tt n 0 *

4

__ o Li 0

1 * 1 a 1 , 1 ^ o ^g' '* 1 ^ ^

7.0 1 4 0 ' 1 4 1 1 4 2 4 4 1 2 1 4 4 4 1 0

' ;; 4 l 4 l \* 4 -' l -' ' 1 1 ^ 1 2 4 1 4 1 4 4 1 4 1 2 4 2 1 4 o l

3020

The Fifth Position (V) 25

On the G String- On the D String"or:

\> \Q v& |J.p. x -p- ff -P

D flat D E flat C sharp Csf,"ple I> sharp

On the A String-c or:

1 2 4 1 2 4

i^Jir-T b?5 P to T t?3i5tz sp w *- *y

rf"A flat

On th n o ' II

4 2 + 1 2 1 4 . l 4 1 1 4 1 4 4 1 2 1 4 2 l 1 4 1 2 1 4 4 l 4 l 4

2 l 4 \ l i 4 4 2 1 4 4 l *. 4 l l 4

2 4 1 4 1 4 I 4 i 42^, 4 t 2 4 l 2 4 4 i 4 8 l \ 4 ^T 4 l

1 2 1 4 l

4 1 4 2 1 4 2 i l

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

1 4 1 1 4 1 o 4 1 1 4 2 4 l 2 4 1 4 2 4 l 1 4 1 2 4 1

l 2 l 4 * 4 l

4 2 4 1 4 1 4 4 1 4 ^ 4 2 4 4 4 i 4 l 4 l - > 4 1 2

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

4 1 4 2 1 1 2 4 4 1 2 1 4 l 4 i 4 1 4 4 1 2 4 4 1 2 1 4 2 1 4

4 2 1 4 1 4 1 4

4 1 4 4 1 2 4 4 1 4 1 4 . 1 4 1 4 l 4 l 4 l 4 l 2 4 1 2 4 4

1 4 2 l l 4

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

4 1 2IV ^^^

l - l* Alternate fingering : \n

-rrf.lt t t_ . , L I I3020 '

37

The Ninth Position (IX).

In this and ali higher positions the burth finger is usually not used, as ths position of the hand now makes itmore practical to use the third finger. The note which occurs an octave above the open string need not be pressedbut may be played as a harmonic, touching the string lightly with one finger only. This is most advisable whenthe note is approached or left by an interval larger than a whole step.

On the G String- On the D Strin-or: or:

" i ' * \,'1

F G flat G

On the A String

G A flat A

On the G StringIX

c ^ l-^ -P ==-*- ^ o3

*f f 'f . f1 2 3 o

lf f ti *rP 'Esliarp Ftil.arp ^!^ ''6 C D flat I) B sharp C sha

On the E String-or: o ^ or:

1 ^ y*> l l 2 , S 1 ^' ^ s "^r3 frr3 : #75

0

f IIC douhle

'P .1 sharp

03

: p* r" 5nd p-p >*-p -nFdouble Gdouble ' ., C douhle ' I I .'loubleG sharp D E fiai E , D sharp .sharp F sharp sharp "'' sharp

Exercises on the Separate Strings.

f # # ^ ^ ^ ^ kf ^ ^ ^4; p ]_ j 103

1 1 1 h-

On the D

/ x-t--o-Y ''j* /*j \, '

i1o

l 3

-1 4 i ' i JL 1 _ | 1]

On the A String5 IX i

**!' /* * y i.bei

-4^ vre> d-4" H-ti j-V J V'J t i j *

On the E String' IX

3EEf=\=\lz.

-

rj Q?==*=1 idh- 11 " :.]^Mo 5-^=p=M> yj==^==j=tn^E==d- n- ^ \ __LExercises in the Ninth Position

on ali the Strings.

f.ff/ffr/ffiff-fc^ p, nmrT" i ' 1 ip ^O ! O !J \ 3 l O l 3 33 3 a 3 l 3PPf

f r . ir r f

38

IV

Exercises in the Ninth Positiontogether with the precsding Positions.

I X

2.0 1 1 2 1 2 1 2 1 4 1 4 1 4 2 3 2 ,'i 3 2 1 4 l

0 1 4 1 1 1 2 1 1 1 4 1 1 1 4 1 1 1 4 1 1 2 3 2 3 2 3

f f f f . f f r f . f m3 4 1 4 4 4 1 4 4 4 1 4 4 4 2 4 4 4 1 4 4 1 0 1 4

'

39

The student mustinot be content with merely acquiring technical proficiency on the instrument, but must constantlywork towards making hisplaying musically expressive. The nuances indicated in the following exercise are suggested bythe editor ; the student may follow them or substitute his own. It is strongly recommended that phrasings and nuancesbe carefully introduced in ali pieces which are to be played from now on.

v n

84 2 0 1 . 1 4 1 4

.

0 1 4P

1 2 4 4 1 diminuendo 1 4 2 1 0 1 4 1 2 1 1 4 2 1 3 2 3 2 4

4 l 4 4 1 2 l O 4 1 2 1 4 1 4 1 4 1ditn. O l

cresc.4 1 4 0 1 1 2 1 4 2 r 2 4 1 4 4 1 4 ^ ]

nbrino thc thumh nhove the strinss. s that fhe first fineer is oarallel to the second

40

The Tenth Position (X)Proceeding to move one-half step higher than the Ninth Position, we come to the Tenth Position. While playingthe higher positions, the thumb gradually moves from behind the neck and is placed against the side of thefingerboard. Just how this occurs depends to some extent on the shaping of the neck and shoulder of theinstrument, and also the length of the player's thumb. But generally speaking, in the Eighth Position the thumbshould be placed on the side of the neck of the bass, and in the Ninth and Tenth Positions it is moved to theside of the fingerboard. As in the previous position, the fourth finger is usually not used. Most commonlythe second finger is used to press the string firmly instead of utilizing the harmonic, but there are many instanceswhen 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 rarerwill be the instances when it is necessary to use the E string.

On the G String- On the D String- On the A String-or: or:

or:

F sharp'J^'" G sharp G flat G A flat C sharp Cs

Exercises in the Tenth Positiontogther with the preceding Positions.

41

3 2 4 1 2 3 2 3 3

2. ^2 3 1 3

A flat Major ScaloTiT-lr-t ~ s

1, 4 2 "

- -- "- *

~ '-1 ^ . * * ' - - - ' "* ' * l " '

3. mmt l 4 4 l 4. l 2 1 4 2 3 2 4 1 4 4 1 4 l 4 l 4 4

f r r i f f f frPPP^

4 1 /i 1 4 1 'i t 'i 1 /i j

l 4_

4. S^thr^- r r i f r r r f i f2 ^ 1 4 1 1 4 2 4

L f f f f .f r i r r3 1 3 1 2 4 2 4 4 1 4 . l 4 l 4 2 4

>

l 4

5 y-1 "i b yz= :^

^

f f , f f f , f - ^MII

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

nrf f , f f fgLfef4 1 4 l 2 l 4 1 2 1 4 1 3 2 1 4 l

f f f l f f f l f f -ndl.

4 4 1 2 4 2 4 1 4 1 3 1 4 l 2 1 1 4 2 1 1 4 2 4 2 4V

frlt-T Z

43

The Eleventh Position (XI).is the final position below Thumb Position, and is placed one-half step above theTenth Position. In this positionthe instances when the third finger will be used on the D String are extremely rare. The octave harmonicnow 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-or:

On the D String- On the A String-

1 l f ? s /i

or:

G .sharp D E flat D sharp A

Exercises on the Separate Strings.On the G String-

XI a l,i -=. HJO. v-e. Vi X^2 fe

= . f . T fl 2

On the D String-, XI On the A String-

Y f (tp K^ p "f a / xi ^^:^ i 1 i 1 i 1 f* l : P-

s J42 ^ ^ . ko -|

2 l

f f f | f

1 2 l

Exercises in the Eleventh Positionon three Strings.

-o-

f1 1 1 3 1 1 1 3 1 1 3 l

^M2.Exercises in the Eleventh Position

in connection with ali the preceding positions.

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 i f ^ f f i f f1. 5HE1 4 1 4 1 1 4 l 4 l 4

l 3 3 3 1 2 3 3 2 3 1 3 1 1 1

4 4 4 2 4 4 1 4

45

C sharp Major .Scale-O- -o-

-*> o

a 4 1 4 1 2 1 4 1 ' ( 2 4 1 4 4 't 4 2 4 \ 4 1 1 4 l

a l 4 2 1 1. 4 l 4 l l j~l 2 T' 4

1 4 4 ! 4 1 4 1 * 1 4 1 4 2 * 1 4 1 2 4 1 * 1 * 4 1 4 l 2 4

^l i . r i l 1 .* * . .. . -Jp.1pil .8 * . * 1 . J > ..*. ir.T*rrrnrrrri ; p i-rrr irrrrir rrrif r irrr ir rnr0 4 ! ! * 4 l 4 4 'i 4 1 * 1 * 1 2 4 2 4 1 4 2 4 l 4 l 4 2 4 2 4 1 4 1 1 4 4 1 4

* l 4 4 'l 41 4 l 4 'l 4 2 4

47

%4-B Minor y r|j f: n l_ li * T_ , J

j i fl [-t e J

r

4-V"

14" >-

ri Pi

t s "

Exerse2 1 2 4 2 2 l l 4 j 2 O 4 7 4 14 4 l ' 12 / 2 4 2 ' t 21 4 1 2

1 1 4 1 4 1 4 o 4 1 4 :i 2 4 1 1 4 1 4 2 4 1 m^ f l o l 4 2cr esc.

41 2 1 4 1 4 2 1 1 4 1 4 2 4 i 2 o

/ /*3

' 4 1 4 1 4 2 1 1 4 1 4 1 2 1 4 1 0 4

4 l 4 14 l 1 4 .',

4 1 2 1 4 4 1 'i 2 'i :i 2 2 1 1 4 2 1 0 4 2 4 1 l 'n 2 4 4 l 2 'i 2 4 l.> > . 1 *-* "*

F sharp Minor ^^j ^n| l^"Q^-"^ i |0 . . , ,_l 4 l 4 i

VI4 l

Exercise ^ *

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

4 4 ^ 1.4mO 2 l l ' l ~ l ' ' 1 4 2 1 'i > l 1 4 1 4 2 ,-i 2 4 1 4 1 'i 1 2 1 2 1 4 l

' ' 4 4 i 4 2f f f i r f r r i r f f f i r f f r i r f r f i f r r4 1 4 1 4 1 4 1 2 4 1 2 1 4 1 4 1 4 2 4 l 4 l 4 2 4 1 4 l -( 2 2 l ' l 2 4 4 ,

(8l ,!2

11: d a jC sharp Minor J' fa>- 2 _ * ._ tt-*4 2

_3 1_

xerctse P l Q l . -In ir r i1 4 2 1 1 4 1 4 2 3 3 1 4 2 2 1 a 1 4 4 1 2 t 44 2 1 4

f 1 1 J

2 4 1 4 1 2 4 4 1 4 4 4 1 2 ll 2 l 4 l 4 8 2 2 1 2 1 4 1

4 1 0 2 1 4 2 1 1 4 1

V Py

4 l lM-^a=a=a==P

J 4 4 2 SJ

4 2 1 2 l 2 4 4

G Minor -fc-Hrtx b o O "

4 0 1 *

*P "-"

^r ^ 1 4 1 = ^ -o i ^ o ' t - '

! "* 4 1 0 4

Exercise V* (; ^0 1 1 4 2 1 2 4 2 l Q l 4 l 2 1 4 1 4 3 0 2 0 } Q 2 4 1 4 2

O 1 4 1 4 1 4 2 1 4 1 4 2 1 o 1 1 4 1 4 4 1 2 1 4

1 3 2 4 3 4 1 2 1 0 2 1 1 4 4 1 2 1 4 1 4 2 1 4 1 o 0 1 3 1 4

2 4 0 2 2 4 2 1 2 4 0 1 2 1 4 2 4 2 4 1 2 1 1 4 2 4 4 1 4 0 1 2

1 4 1 2 0 1 1 4 2 4 4 1 2 1 2 1 4 1 4 2 1 4 1 4 1 2 1 3 1 4 2 4 4 1 4 1 4 1 Q 1 2 1

r^4 4 1 4 1 2 O 4 0 1 1 4 2 1 2 0 1 4 l , 4 O 1 ^ l 4 1 1 4 2 . ' i 4 4 1 4 1 4

l 1 1 4 2 4 2 4 1 4 1 1 . a o l 2 1 4 1 2 1 4

OO i/ r. , 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 ? : * , ~-o

* t

^ 1 1* 1 ~*

' t i * .

* V f^

v n T

41 ^1 * ''

..". c , . ^ f\i k

/|y ^ 0L O * * "^^ ^

n ' 1

AH'

/

\ "7JOUl(>j J

t 10 tT o * l

i t T n R ir. l r. r. t i v r: v i 5: c

51

Enharmonic Minor Seal es.

l 4 lB flat Minor O " o

K- o _ r-f) 3-

2 1 4 l-trrr

-o--o-

~rr-o-

h. R

.^ 1 , p ff f p-fcE ik, 1 /* l US }> \v. \.j \

[,r4 p-f-,r~H i MH~T~i

,

HJ

Q4

19

2 10-

4P

1

.

4i

19a V 4- nj E j j P P _rH r^h^ m t*

^ 2 114 2 1 4 1 a 114 l 2 * 4 l 4 l * * l 4 l *

I

'o i a 4 4 'l 4 4 2 4 0 1 4 1 4 2 4 1 4 1 2 4 4 12 4

4 2 1 2 4 ^ 4 4 4 1 4 1 2 4 1 1 4 1 - 4 2 4 4 1 4 2 4 1 4 4 1

2 1 4 1 4 . , l 4 1 1 2 1 4 1 4 2 4 1 4 2 4 11 4 2 4 1 2 3 1

4 t 4 4 2 2 l o 1 4 l i l 2 1 4 1 4 1 4 1 2 4 1 1 4 4 t l 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.

4 _ l V 2 l l L. , l , , 2 l 41-e n-o-

*

n -j-4 4

Exercise -^ r1

0 1 2 4 \ 1 2 4 ' t 4 4 2 4 1 4 0 l * l 4 2 4 1 4 1 2

1 1 4 1 4 2 4 4 1 4 2 4 14 1 * * o l 4l

2 4 1 4 1 4 2 4 1 2 3 1 4 1 2 1 4 1 4 o 1 4 l 2 4 2 4 1 4 2 4 1 4 2 4 1

t 4 4 2 2 1 2 1 4 1 ^ 1 2 1 4 1 4 1 4 1 2 4 l l * 4 I 1 4 2 4 2 4 4 4 l

52

lE flat Minor. -cy-fT

' * t> 1. t i e "

> 1! 2 4

. Z^ Q_z 1 4

-W n J; 1

1 * 4 , "

Exercise 3?4 1

l 4 1 4

??

2 4 4 4 1 4 1 4 4 ! 0 4 4 l 2 4

l 4

1 4 1 4 1 4 4 1 4 1 4 1 4 4 i 4 2 t l 4 4 l i l 4 1 4 4 1 2

^ . 4 l o l f-1 o l /r~E- l

^syrfr4 2 1 4 l 4 1 4 4 1 1 1 4 1 4 2 4 4 l o 1 4

/.

l 4iJ r i r r r r i | ' r^^l 4 i 4 j l 4 l 4 1 2 4 4 ! 4 4 l l 4 4 i ' 4 1 4 1 4 1

m-rr

4 i 4 l 4 l 2 4 4 1 2 4 4 ! 1 4 3 2 4 4 l 0 1 l O 4 * * 4 1 * * ! l

D sharp Minor is played like E flat Minor.

^ V Q J ity w p ift 1

4

0

1 o

4

4* \ i Q. ftr* X-O- *-* HjJ-O- Br .^' f

i" 4 2 4 \ ' \ t M 4 1 *

1 4f*

4 4

1

^>

1

Exercise

^

i l . 2 i 4 1 4 1

1 4 1 4 1 4 2 4 4 4 1 4 l 4 4 t 0 4 4 t L , 4

4 i , l

f^rff |S f ( [ ' r j ^1 4 1 4 1 4 4 1 4 1 4 1 4 4 1 4 2 l l 4 4 l l i 4 1 44 _ _ m _ _ -T~- i 4 *

l 0~^ri \l l "^4l f y IP^J

53

A flat Minor^f

**2 i

l 2 4 l 4 l , 2 4 n

Exercise 3.

m

gi1'. k L. r4 1 1 4 1 4 0 1 4 1 4 1 4 1 0 2 1 4 0 1 1 2 1 4 1 4 1 1 4 4 1 4

2 l'

1=1 f^ff

D4 2 1 1 ,

4 l

M

2 4 4 1 1 2 1 1 4 1 1 4 1 4 4 4 1 4 4VI

4 , 2

2 4 lpl 2 1 4 4 1 4 1 0 1 1 1 4 2 4 1 1 4 2 4 2 4 1 4 1

ii ^ i p r ir ,n.i0 1 4 1 4 2 4 2 4 1 1 4 4 1 2 4 1 4 1 2 4

4 1 4 4 i 4, 4 i 4 4 2 ^ 4Q l 4 l 2 1 4 2 1 4 2 1 4 2 1 0 1 4 2 1 4 1 4 l

G sharp Minor is played like A flat Minor.

2l 2 4

-O-'4 4 1 4

-4-4 l

3C l 4 l 'l 1 4 14 l * *' O

2 l 44 l

l 2 4 4 l 2 2 4II

txercise

^V D t*i-^ f rB 1

-r1

i*

-K

4

^

rhr

v

-f

2m

4

49

1

1^

-J1+4

4>

f^PH 1 '1 4

-* j

-J L

0 1

r

r-H

4 1 4 1 4

_- '

f- p F 1 i

1 0 2

l 1* r

i '

T"^i5-

T"^4

n4-\

0

f4- )-

^

1 ' ' -

f r pri M

' ' 1

1 1 1 |

1

f f-1

-L-H-4 4 .1

. 19- 4- f-1 r

4

1

4 1 1 2 4 2 1 1 4 1 4 4 4 1 4 4VI

. , , f -p - 1 5 H 4 2 4 4 . 2 4 1 L-. 1 *t. ): |i ffij 1 j- H H ' p H j \- r*!- -N'-j f L-l =M*sH H

^^

^

MJ-'

1 ^ f=p V

, 4 l r f f . r r i r r f ?( | l 4 l 4 2 4 2 4 1 1 44 4 1

4 1 2 4 1 4 1 2 4 2 1 ^ 1 2 4

4 4 l, 44 l 4 4 2, 4 1 4 2 l 4 2 l

1 '. 1 0 1 1 2 1 i 4 2 1 /, o ', o 1 4 2 l /4 l

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 ofthe most highly valued assets a player can possess. At first, practice the intervals slowly, concentrating onabsolute purity of intonation ; then varieties of bowing and rhythm may be introduced, for example :

Thirds.

> . u

r r ir r ir r , r f | f f if f if2 1 0 2 . 1 0 l 4 2 4 1 4 1 4 2 1 4 2 3

'/.f f if f if f i f r \T r irT i iy_..7...M.'.' . . . . ....T.".~.V" 1 ....I.... ' 1 r ir r i 4 1 4 1 4 2 4 1 4 0 1 2 0 1 2 ' 0 l 2

Vfc t t 1 ,IE J-J ^~rL-g *L 1 L.^ g -e- -Tf- ^ :=1 H < :1 Mj frr. -H J 1-1 1 ' 1

O 2 '1 *

.,. r r T f f7 f7f ,f f .f f .f f |f7|f7if^" T ^^_^_____^_^ ...._ o , n n

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

MH r r i r P N j u j ii1 4 1 4^ 1*y t t=^=i f.B1 1 F^HH iy 'J Qj

2 1

P* H 1 4 1

~ i1

4 1

H H '2 1

u L_-q-1 14 1

3 1

.j, f f ,f r ,f r^1 2 4 1 4 1 4 2 4 0 2

-o-u-e 1 o4 1 0 4 1 4 1 4 1 2 1 4 1 2 2 3 1 3 1 4 2 4 2 4 1 4

ifa ^^PJ9F- 'r ' ' TN A 1 '.2 1 4 'l 4 1 '4 2 1 0 4 ! 4 1 2 1 4 1 4 1 2 1 3 2 1 32 * l 2 4 1 2 4 1 . 1 4 1. 2r |i r ir i * ii Ir J l - l - i i

3 1 3 1 4 1 4 2 4 1 4 1 4 0 1 4 O l 2 4 i 2 '4 l 2 4

2 1 4 2 l 4 2 ^

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

f ,f f ,f f ,f7 ,rr ,f? .r 2 4 l 4 l 23 1 1 3 2 4 1 4 1 4 4 2 4 1 2 4 1

55

It is suggested that in these exercises the student should frequently use an open string to check his intonation, for example :

etc.Z O 4 1 4 l o

J. __ 1J \ fi

2 1

rf-i--

-f, p 1 '

H iW-1 i o

'

- J TT 5 rr-f-r

2 1

P i1

4 1

f2" 1j 1

4 1

rFfn-1 i 2 1

^T^\ 13 2

rFhii i li1 g U

1 3

V v .* r r ie '3 1

rn4 1

PH4 1

1 | P 1

4 2

P4

P

1

f14

"n0

" pMi7 1 g

M '

4-^ i -^ -6 eV I Q f f ,ff ,f

^

0 4 1 4 2 4 2 4 1 4 1 2 1 3

f , f^

3 l f-)

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

3 l 4 ! 4 1 2 1 4 1 4 1 3 2 1 3 1 3

. . . d l

--^ 5R 1 1 __j

3 1

I I

3 1

lI I I

4 1

i r iJ i4 2

i ' i-L-\-

4 1

rrnU 4 1

rf-44

J

1 1 4

r^ 1

iJ

2

7! 1p

4-H

K \ e j^

J l J J l Ji2 l 4 i 4 ! 2 1 4 2 1 4 1 4 1 4 1 4 2 * 1 3

4 y T dS *fF9 ' '

3 1

-4^4 1

-M i i

1 4

4-41 12 4

H J2 4

r-4H

1

rJ

4

^

1

>._.

4

rJ

2 4

Q

FMi L^ 4-H^ fJ1 4

Hg

1 2

-4fj4

-fi15

UtJfj ^

1-sL

n f i f .g ^3 2 g ' ^Z^ f ' ' T i M

2 1 4 l '4 l ,4 2 4 1 4 1 4 1 2 1 4 1 3 1

' ^ / f f ~ *^ J

f f f ^ f p ^ o P ^ o . , , - 1M l 1 -\ -| -1l & - 'J 9 ^ __ r^ -$ 1 4 1 2

h.R I h.R h.R

'-._> l 4 2 1 4 2 l 4 2 1 4 2 4 1 4 1 4 2 4 1 4 1 4 1 4

l ' i :' r f1 3 2 4 2 4 1 4 1 4 1 2 4 i 1 4 1 2 4 ! 4 1 1

56Exercises

h. p. h.R

4 4 1 2 4 i 4 O

-P

FcJirrrnr f irrnfrf F=*4 1 4 4 1 4 1 4 1 0 2 1

m1 4 1 4 1 4 2 1 0 4 1 4 1 4 1 4 2 1 3 1 3 2 4 1 4 1 4 1 4 1 2 0

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

P4 1 4 1 4 1 O

l 4

l

0 4 2 4 2 1 4 1 2

1 4 l 4 1 1 4 1 4 1 2 0 1 4 1 3 l 3 1 1 1 4 1 2 4 1 2 4 4 1 2 4 4 1 2 1 3 1 3 l i l 0 1

r r rMtfrr\f2 1 4 1 4 2 4 2 1 4 2 1 4 2 4 1 4 1

K r r m r r r J^

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

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

r r c f i f f f r i rl 2 4 2 1 4 2 1 4 2

rJirffnrl 2 4 2 1 4 1 2 1 4 1

I

r f f i r r r n r4 1 4 1 1 2 4 0 2

Fourths.

r . - f f f f f-e e-

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

P M'/, l l--3 3 4 4 2 2 4 4 1 1 4 2 l ! 4

,1 |.l J | J [.|.l _P-^^

1 1 4 4 1 2 4 4

fci; 1 1 L -4-4i 4-

" r4 ^ -Hi O

' 1rj ->

*

or-

y-i6

-4'- S -

58

1 1 4 4 1 1 4 4

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

O O " O O1 1 4 4 1 2 4 4 1 1 3 3 3 3 1 1 4 4 2 1 4 4 l i 4 4

l 4 4 V l l 24 * l,n,,flffirfir|^ |

l 2 2 4 O l i 4 4 2 2 4 4 1 1 4 4 1 2 3 3

l * 4 4 2 1 1 4 4 1 1

M3 3 2 1 4 4 1 1 4 4 2 2 4 4 1 ! 0 4 2 2 j l 4 4

. ' ' r i f r i r r i Rf Tf .ff .f f ,f=4 4 l i 4 4 1 2 4 4 1 1 4 4 1 1 3 3

4 1 1

3 3 1 1 4 4 1 1 4 4 2 1 4 4 l i 4 4

+f f . fo o

2 3 0 0 1 1 2 4 0 0 l i 2 2 4 4 1 1 4 4 1 2 3 3

3 3 4 4 1 1 4 4 1 1 4 4 l

l l 4 4 1 2 4 4 1 1 4 4 4 4 1 1 4 4 2 l 4 4 l i

M'1 r irO l a

f r i f2 4 4 2 2 4 4 1 1 4 4 1 2 3

4 2

3 3 2 1 1 4 4 1 1 4 4 1 1 2 o l

CN

H--

M

ei

*~

N---

*

t)

?) )>

* l- (

3O

0)M

'41X

Ul

1 --

1 '\ 1

(s, et

H

~ "l

/ u\ i

u*---.u

( L1

1

(i

> :

*~

^

T

iX X'

L

tf

W

t TH

1> ~f

1 -tf

T TH

"1 oi . ?l'

TH

T

""

11

i *tf?>

...-

L - _

2

" t

. 1

s

ur u

r A

,, |

- J-*5

f H ?j

rjP

*-TT 1 H i FM *" l H \

-\ L -\ ^4- 'n

-i

4 i 1 4 1 4 'o l 1 4 4 2 2 4 4 1 1 4 4 2 1 3" h.R

r1 4 4 i

-v-\r3 1 2 4 4 1 1 4 4 2 2 4 4 j l 3 4 1 4 1 1 4

f fl l '< 4 2 1 4 4 1 1 4 4 1 1 3

f | f f . f P-rf.f |f3 1 1 4 4 J 1 4 4 1 2 4 4 1 l

i i f , t i i r ; E v

^

=F

L

0

|| -

E

!

E

ri

*-

En ~=4

^

r

J

i

t-l3>. i P-

i

^-

0 T

1 J-

zf

E

l^ 1

l

r=4=

r

J

i i i

i i 4=cJ

'i L

i

-^

^

rj M

^i

P l (1 J 1

-TTT-~.s \f

n

, *' "

V

~

n i

'y

4 1

TU

1p 1

4 4(9 1 1

-Li

1 i "l r i p r .' T .

^

-f f-hi ! 4

4 l 1 2 4 4 1 1 4 4 j 2 4 4 1 1 2 4

" V * * 1 1 4 2f r if f if .. ir p , , l , , , , , r .1 i r j u j ir1 1 4 4 2 i 4 4 1 1 4 4 2 l

V nt v d ^ n>P (*,

iC rrt

T 1ri i-d

O 1 1 p 1^J 1 1 F-i^=Mi t-i^i Jrf-^ -h1 i i r-hr i il 2 * l l 4 4 0 2 3 3

, f . e * p ^ . .M

*

-F r^ H Q H _, , H 1H ^~

-

-

^& 1-T

4 0 1 1 4 4

y*"it i* * ip -f -d d i p ' rj i i

> if F if . i f . ir .14 0 l l 4 4 ~ 0 4 4

r j i r ^ l0 1 2 1 4 4 o l 2 2 1 1 4 4 0 2 3

>M . \ \ i7 'M

r? ift=& f=^~~\f i i j f ii * p ir ri1 e T;1 1 4 4 O l l 2

=*=^

4 0 1 2 2 1 1 4 4

.

'/^ t" p u f- i r P i r j2 1 4 4 1 1 2 2 2

2 4 4 l l 2 ^ 4 4 4 4 1 1 4 o l i

^

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

f P ,f4 4 4 l l 4 4 1 1 4

67

Exercise in Sevenths.

l 4 '0 4 2 1 1 1 4 0 1 1 4

0 1 4 2 ' l i 2 1 2 4 4 l 2 l 4 0 1 1 4 2 1 2 4 4 2 l

V nV n

4 2 l O 2 2 11 4 ^ 4 4

r r r r r r r -2 O l l Q 4 l 244 o l 2 4 1 1 0 4 1 2 4 4 0 1 2 1 221 3 3 1 0 2 2 1 1

VI

*. 11 4 * A A 4 O A A A .. /, ' - 1 4 / _ ' _ O S. f A / i. i O 1 K.

4 0 1 1 4 2 1 2 4 4 2 1 4 ' 0 1 1 4 2 l O 2

i , ,n*

4 1 4 4 4 l 2 1 4 1 2

4 1 4 2 l O 4 4 1 4 l 4 4 o 4 1 O 2 4 1

Octaves.0 4 1 4 1

1 4 'i 4 1 4 1 4 1 3 3 1 4 1 4 1 4 't 4 1 4 1 1 0 4 l l

m PP51 4 4 0 0 2 1 4 1 4 l 4 1 4 1 4f..f.f!.f...f. ar ' i r r r f i

n.in.-fV^Vai1 lrj IP l II l ri rj l1 t^ i=E4 2 1 2 4

nh.P. .o.

uri.iri,fi,.f^^1 4 1 4

V n V n

4 1 3 1 3 3 1 3 l

^

f , f . f , ,-gl a l f^ l P l

l^^

*== 4 1 4 1 4

fnf .ir,i ir ^N4 1 4 t

' 1 "4 O l

n V n yO . l (J , l *=7| T

" /. /. 4 i 4 0 4 1

r ' N ' u i 1.1 r u1

' 1 f . - I Q - I Q * ? ! * * < A < I1 4 1 3 1 3 3 1 3 1 4 1O O

j ri j i u' N73_ ^ 4 0 1

h.R

if,.ifl 4 l 4

i r i|" ir1 li1 ri1 ri1 ri' .1 n J ir.i i' '

Exercise i n Octaves.

*H

40 l 41 4 1 1 0 o

l

l 4 1 4 1 l 41 l 4 i

r ..^.r . \"r M4 1 4 1 4 1 4 1 'l 4o l 4 1 3 1 4 1 4 1 4 1 4 l 4 l 4 Q 4 l * 1 4 1 4 i 4

1 4 1 4 1 4~4 l 4 o l l * l 4 O l l 4 o l l * l * 4

1 4 4 1 1 4 l 0 O 1 4 2 4 1 l 41 4 4 1 2 3 2 4 0 1 4 1 4 1 4

1 0 1 l 4 1 l 4 4 i O l 4 1 4 2 4 0 4 1 4 1 4 l 4 l 4 i l 4 2 4 S

4 1 2 l 4 1 1 1 1 4 1 4 1 1 4 1 4 0 1 1 4 1 4 i 4 1 4 1 4 1 3 1 3 o

69Chromatic Scales.

At first practice these scales slowly with separate bows ; then increase the speed and add the slurs. At ali timeswork for precise intonation and clean articulation of the left hand.

etc.

C major

1 2 1 2 4 2 1 2 1 0 4 4 2 1 0 4 2

F major ~*7

1 1 ~ 2o :

r v r ifr f *f4 0 1 1 2 4 0 1 1 2 4 1 2 4 1 2

f T f ff rr r Sr r " r r4 4 2 1 4 2 1 4 2 1 0 4 4 2 1 0 4 4 2 1 4 2

B flat maj1 1 2 4

r'O l l

r i r rr r2 40 l 2 4 2 1 0 4 4 2 1 0 4 4 2

E Hat maj r r r f r r^rf |f rrr fr r"r0 1 2 1 2 4 1 2 4 2 1 4 B 1 2 1 0 4 4 2

A flat major 6): l H 1> -^'S V \) V "

4 0 1 1 2 4 0 1 1 2 4 0 1 1 2 4 1 2 4 1 2 4 1 2

3 3 2 1 4 2 1 4 2 1 4 2 1 0 4 4 4 2 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 maj1 2 4 0 0 1 1 2 1 2 4 1 2 4 1 2

4 2 1 4 2 1 4 2 1 2 1 0 4 4 2 1rr !TfrJ|JtiJ^^

0 4 4 2 1 0 4 2

3020

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 l

r r if r f ^ *r r r r ui> j f i^ r4 4 2 4 2 i 4 i 4 1 2 1 4 1 4 1 4 2 1 2 o l 2 3

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 isto be separated from the following note. The term used to describe this manner of playing is staccato.

71

t r f f f i r r r f ^l 2 2 1 4 1 1 2 1 3 1 4 2 4 2 4 1 4

l 4 1 4 1 . 42 3 4 2 4 l 4 l

2 4 1 4 2

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

f r r f f r f f | f f f f f f r f i f j0 1 2 1 4 1 1 2 1 3 1 4 2 4 2 4 1 2

1 4 O 1 1 4 . 'l 4 2

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

l 2 1 2 1 2 1 2 1 " 4 1 4 2 3 2 4 1 4 1 4 1 0 4

l 2 ~ j 4 ( l l 4 1 2 1 4 2 3 4 1 4 2 4 1 0 4 1 4 4 4

2 4 l 4 1 4 2 4 . 1 4 2 4 1 0 4 1 4 4 1 4 ' -_ o \ * l

1 2 4 1 4 1 2 1 2 1 4 1 4 1 3 1 4 1 4 4 2 2 4 1 4* l

a 4 l 4 O l 2 1 2 1 1 4 2 1 4 l 43020

72

o . 2 44 1 4 .. ? * ! , 2_~4 l ? l

' ? 1 uJ. h'- I h-P-

4 2

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

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

4 1 1 4 1 4 0 1 4 1 4 1 4 2 3 1 4 2 4 1 4 l 4 g*"" 4 2 i i

4 1 l 4 1 2 1 4 2 4 2 4 1 2 1 4 2 1 4 " "

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

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

4 l 2 4

WiffrTffJLf4 1 2 4 1 1 4 1 4 2 4 4 1 4 1 2 1 4 1

g061 4 1 4 1 3 1 4 1 4 1 4 2

1 2 1 4 2 O 4 1

flf ttr . f 'ifTf .i

1 4 1 2 4 1 3 0 4 2 4 2 4 1 4 1 4

PART IV.

Various Examples and Combinations of Bowings.

73

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

4 2 1 1 4 4 1 1 0 1 1 2 2 0 4 1 4 1 4 1 2 4 2 12 1 2 2 4 1 2

4 1 2 4 2 4 4 1 2 1 1 2 4 1 4 t O 1 2 2 4 4 1 ^., l 2 4 4 1 ^

Practice this exercise with the following bowings :

e/c.

ee.8

ec.

ec. -f

e/c.

etc.

etc.

ctc.

23*e/c.

30 n Vn V. n V /

/"

l 4 2 1 1 4 2 4 4 1 2 1 2 2 0 4 1 4 2 4 4 1 4 2 4 0 1 4 1 4 1 2 4 2 1 4 2 1

urrfffffr0 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 otthe most frequently encountered of situations arises when notes of considerably unequal duration occur withinthe same measure or beat. In many cases, the most convenient manner to handle such a situation is to jointhe shorter note (or notes) mto the samebow as the preceding longer note. * However, the result is not to beconfused with legato playing, and such notes should have the same type of separation as if thev were playedwith separate bows. ^^

nn_ y.?-.V ,~-v i.J ir

znd time )} l 2 4 1 . 2 4 1 2 4 1 4 1 4 1 l 4 1 1 1 4 1

4 l~ff

4 l 2 ld i m. 4 l

v

4 1 1 2 l l

A clear distinction should bs made between the preceding and the following exercise by carefully observine therest in each measure. In such passages as are found in the following example, i t i s generaliy advisable to "playthe softer sections somewhat on the staccato side and to lengthen the noies in proportion to the increase indynamics, but never to play a note longer than its written value, no matter how great the volume.

n _ V n^.V n l^y ^JV etc.

75

ir i J w iii J1 vp2. ^p 4 1 1 4 1

cresc.r f / O T . 2 1 4 p Z crcsc_

^4 2 4 cresc.l 2 1

4 l

3E? 'V\i i f

fz4 1 4 1 4 1 4 1 4 1 4 0 2 0 4 l

f

dim.

m 'O PP

ytf 2 4 4 2 4 1 0 2

4 4 1 2 0 4 1 1 4 2 1 2 2 1 2 4 2 1 4 1 2 2 4 2 1 2 2 1 4 1 4 1 4

1 1 4 1 4 1 4 1 2 1 41 2 1

4.

v -. V n

" 4 4 1 4 4 1 2 4 4 1 4 1 4 1 4 4 4 . 1 4 4 1 4 1 4 4 1 2 1 2 1 4

etc.

LjTrrrrjrr4 4 1 4 2 1 2 1 4 4 1 1 0 1 2 4 4 2 1 2 1 0 2 1 O

76

4 1 4 4

,/

n v n v ru v ^ . rri i * ^* ___m

1 ~ 2 4 l 4 1 2 1 1 4 2 4 1 1 2 4

4 1 4 2 4 1 4 2 4

In the examples presented s far, the notes which are joined in the same bow occur, for the most part, on thedown-bow : however. this can be done as readily on the up-bow. It is extremely comrnon to place two adjacentnotes of unequal duration together in either a down or up-bow, providing hat the shorter of the two notes fol-io ws the longer one.

.V, n V-, ^ --: n v V_ n v v

6.

9. E||

Frequently, notes which are separated by two or more beats may be connected with the same bow.

i 10. ' ~

77It is frequently a very useful practice to group notes of the same length in one bow.

n v IUn_ f . ^ n V n ^ -, v n nV > ^5- n n v* v

*

Y Y

More than two notes may be joined in the same bowH... -;x y V

Lento

=- w

Also note the sugges'.edalternate bowing for theD Minor exercise onpp. 48-49.

18

However,when a greater degree of volume is called for, the player may be required to discard the grouping of notesin 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 highlydesirable to play such notes down-bow.

n v p ^_ ctc v~~ ~~" " ' n

20.: l7v-_

f/C.r

Also, tempo is another consideration in deciding upon a bowing, for in a slow tempo it will not always be feasibleto 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 sug-gestions 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 bowingwhich he is likely to encounter, and to suggest methods of dealing with these situations.

V n V n V n V n

l 4 0 1 4 2 4 2 0 4 1 4

2 OThe above bowing is quite useful in a fairly rapid tempo if a light sound is required ; for a slouer tempo anda larger amount of tone, bow such a passage as follows :

n v "D l n X ! V f- Z n n V T V n V3. etc.

Practice this next exampie as an exercise in retrieving the bow. Play it slowly, and get back to the frog on thesecond beat with as little break in sound as possible.

n v _ _ . . _ . _ _ .^* _ VIn 2. Y n n v n n vA .& * l/

4 l 1 4 1 2 1 2 1 2 1

i 0 4 4 1 4 1 4 1 4 1 4 2 4 1 2 1 1 4 2 1 0 1 43

More commonly one of the following two bowings would be used, depending upon whether the player wishesto stress the first or second beat.

n ._

5.p

.u --7.

_ | |,>i 1^ (7

ny nv

v nv yn 1 4 2 4 4 1 4 4 1 TTn 1 2 1 1 4 PIV 2 1^ ^ l ' l ^ * i _ nV n v n v" etc. 0 1 2 0 2

4 4 2 0 4

79

V n - '. *_ i n i s o l > '< . a

11i 4 t

fl o3 t ' 1

i a 1 'i i 'i l 4

i

Til 1o

1 1-f~P~i 1

=7-|rf~i4 1 1

"Tl4 4

1

r*~

.

fr-)1

f~'i n't

P^4

T-/ * .=H=1 4 1 r^

pi.

/i i^T hr ff

4 a '

1

1 4 1

S! -ri t=>4 0 H

n n

't i 1 a i 4 a s .,

' i

14.

vll 2 * L 2 - / l 4

V/-i"V n V/^-21 n v .^

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

15

ii i 4 1 4 l

* At those places which are marked with an asterisk, and at similar places, return to the lower half of the bowafter playing the long note. This applies even if no rest is indicated ; in order to assure propjr placement of thebow 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 itcm*all nmrumt rf

81

16.foz 4 0 1 4 4 1 4 4 2 1 2 4 0 1 4

1 1 4 1 4 2 4 4 1 2 4 4 1 0 4 4 1 2 4 1 0

0 4 0 1 4 1 1 2 1 4 1 4 4 2 1 1 4 1 0 4 4 1 2 4 1 2

2 1 4 1 4 1 4 1 4 4 1 2 1 1 4 4 2 1 2 2 4 4 1 4 1 4 4 1 4 1 0

1 4 2 1 0 1 4 4 l 2 4 4 1 t

1 4 0 2 4

Andante V n v

17.

1 4 1 0 1

82

Moderato

cresc.

l 4

V n

Pl 4

Andante

2 4 2 l 2 1 /i ,

4 1 4 l 4 2 t 2 4 2 4 _; /(4 1 4 1 4 2 1 1 2 4 1 4 2

^

V A ' l

2 4 1cresc.

1 4 1 1 2 4 2 2dl W.

l k PP

3020

83

_r. n v n v,

4 2 1 4 2 4 2 4 1 2 0 ^ - 4

i a i 2 a ! J i 4 / ? 4 2 i a i 4 a 4 1 1 4 4 1* ^ j,',. 2 0 1dim. P 4 1 ' 2 4 1

21.

2 0 0 4 1 1 4 0 4 1 2 4

1 2 2 4 1 1 4cresc. sempre

f . r r f .f ff. f

84

i

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 momentarilyleaves the string between each note. Spiccato is one of the most frequently used strokes ; rapid passages whichare meant to sound staccato are commonly played spiccato, for the speed at which staccto can be played withoutleaving the string is very limited.A wide range of gradations ofdynamics and of intensity of attackarepossible in spiccato, and the player should beable to vary the shortness and sharpness of his strokes to fit the requirements of the music. If an increase in vol-ume 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 noteextremely short. This type of practice will not only aid in the development of a solid and well-controlledspiccato, but will also be of great help in improving the precision and firmness of the player's attack.

Ymmr mmrr mrmT3

etc.3

, Ij' f U

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

4 1 2 1 1 4 1 0 1 2 4 4 4 1

3. m m--.m-f ff^ ^ T ^2 4 2 0 l4.

30204 1 3 4 4 1 1 4

85

1 4 1 4 4 l 4 4 1 2

l 4

At first, practice the following exercise fairly slowly and with short, detached strokes ; then gradually increasethe speed, and play it spiccato.

6. H!

rrrmiFFfftr"

30201 0 4

86Ricochet.

Ricochet bowing is also known by the names of jet, saltato, or saltando. Unfortunately, thisresults in some confusion, since the last two are more commonly used as synonyms for spiccato.

Ricoche 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 resultsin the bow rebounding two or three times during each stroke. This is not a bowing that is frequently calledfor; it is suited for passages requiring a small number of iight, rapid repetitions of the same note, such as thefollowing :

v n_n

rrrrrrrrrrrl! m m&.

U:>tff|J/2 ^^ i^ M.

x- s~ *~

1^l

-,

-i^~

Pi "-^

-i.s~ s~

-* ^-,- "

V

N

=

^

T~ij CI~

n - V 3 n 3

m mmmm mm

Allegro vivaceni _

From the Overture to William Tell, by Rossini_ _ V n_ V nV n VnV nV

3.W(atlhetip) J^atthefrog)

nV nrvmiiwmiimiimmmxw IM^BBIBBBBB m

r r r y 'LU y '*(at the ip)

Portato.

Portato (lour) might be described as lying halfway between legato and staccato.It consists of several detached notes being played in the same bow.

r r r r r r r f r r r r r r r r i f r r r f f f f f

87

5.

ModeratoFrom the Symphony No. 4 by Gustav Mahler.

^-L^ , - -. nVnV

pp leggicroPortato is not to be confused with another manner of playing detached notes in one bow, which is known asstaccato bowing (a rather unfortunate situation, since staccato is also a generic term, covering ali types of shortnotes). In this specific instance, staccato bowing refers to a large number of detached, short notes, played veryrapidly in a single bow. This is a bowing which is not used in the orchestra, but is part of the equipment ofthe virtuoso soloist, especially if he is a violinist. It is extremely rare to see this bowing done on the 'cello orviola, not to mention the string bass.

A really thorough cataloging of bowings would include such terms asdetach, lance, foueti,martele, coll, sau-till,andflying staccato. For the most part.these can be described as subdivisions of the basic detached and stac-calo strokes.based upon variations in the length of the stroke and the manner and intensity of the attack. It isnot necessary for the String Bass player to be concerned with subtleties of terminology, but the basic strokesdetached (detach), staccato, spiccato, and portato should be practiced with different stroke lengths and withvarious degrees of accent in the attack, s that the variety of bow strokes at his command will be comparableto 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 thefrog, it will not be the same as when done at the tip, and each hs its own uses.

88 Grace Notes.Grace notes are indicated by small notes placed immediately before the notes which they are meant to orna-ment. 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

Notation :

To be played :

f -ff f f

1 2 1 4 1 4 2 4

f f f f f ..

f f f ,,From Das Rheingold, Scene I, by Wagner.

Li >L- Notation :

To be played :

JVT-^ JU-T^ ip c r es c.

ff

ff

l 2 i 4

Veryfrequently in Eighteenth Century music one encounters grace notes which do not have crossed stems andwhich 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 theyniodify, or two-thirds of the value if the principal note is dotted.

Notation :

To be played :

3020

89A 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 toplay these notes is taken away from the note which they foilow :

Notation : /

To be played :

mtur n.

W,W

Ms

1 4 1 42 4 l 2 4 1 3

4 l 2 .T 4 l 4 2 l 2 '.S 2 4 1 2 3 4 1 4 1 !; >t 4 4 l O

90The Mordent.

The Mordem is played on the beat,very quickly, and can ornament the principal note with eithet the upper or lowerneighboring tone. In the latter case, the symbol for the mordent is crossed with a small vertical line.

Notation :

To be played :

l 4 l 1 4 1 a 4 2 4 2 1 2 4 1 4 1 2 4

-Mv'W 'W -W

4 2 4 4 4 2 4 4 2

-w /w /w

0 1 1 4 2 4 2 1 1 1 1 1 4 4 1 4 1 4 1 2 1 4 4 2 4 l

ii;^

m3: :t1 1 2 2 4 1 2 1 1 1 'j l 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 4 4 1 4 4 2 4 2 1

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

1 4 l 2 4 2 1 2

91

The Turn.

Following are examples of the more common forms which the Turn, rarely occuring in music for the StringBass,maytake.An accidental placed above the symbol refers to the top note of the turn;an accidental belowthe sign applies to the bottom note.

Noution

2 l o i

rr r* l

i /* liy Vv

(

Si

rm--^

OS5* J-

,--

ft

9

,

t ^

1

i

==-

1 4 1

- ~.

2 4

?; J

^

t

^-

-

' .

^>

fj y =

- ^ -,

\ 1

-- p

J_

From the Serenade, K. 525 (//ie r/eme Nachtmusik), by Mozart.Andante

-i4fr-^ p~ "^

:_k-2 !l

IJ/ ^^ ' -

t- ^

v n .3

^ u i, j j d y

=*=!

L__

u>*Jvi

I

r -v *

i^ y ^

^ g,^

^_i

- ,^

p ./ L :^

-

/ ' r

The student should be aware of the fact that universal agreernent on the manner of execution of ornaments doesnot 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 keysignature, unless an accidental is written above the trill sign, altering the upper note of the trill. As a rule, trillscommence with the lower note, with two exceptions : 1. If a grace note precedes a trill, it is to be played as thefirst note of the trill ; and 2. In the music of the Baroque period, trills ordinarily begin with the upper note. A trillover 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 stifFand using the thumb as a pivotal point. The arm trill (also known as tha " vibrato trill, " since the motion in -volved is s close to that used to produce the vibrato) is most useful with trills from the second to fourth orfirst 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.

A S

')' i ' ii r7*?"/"JrM4

r^fi2n p. p-ffffffiU i ' 1 I I l l l l rn

3 3

-

3

P !- | f

rFrV r

r^ v-|i P- f

0 mm - P. o""^fr.f n_J 1 J

C^N

H i ~

^fcn3 g i===a^ nd 1 j

2m fime: pOCO J 5* During a lengthy trill the student should feel free to change the bow whenever necessary.

Practice the three parts of the exercise one-half step higher each day, until this levei is reached :

CA ...3Tj|...:z...:r...]

l 3

B

e te. ^Bm et c.2 3

i.

2.

2 4 a 12 447^,, 2 t* i 41 4 l 114 2 H 4 1 4 4 1 11 4 1 4 1 4 2 12 l 242 14 ^ 01 '0

f i^jl.3.

93

1 4 , * 14 T4 l 4 rr, '., 14 0^ 2 4 2 O 4 'i O l

l 1 4 4 1 4 1 4 l 1 4 1 1 4 2 4 4 1 2 1 0 1 2 1 4 1 4 2 1 4 1

2 1 4 1 2 4 4 1 2 1 2 1 4 1 1 1 4 1 2 1 0 1 1 4 1 1 1 4 2 1 0

4 ~~ 1 4 1O l

rrrrrrrrrrrrrrrrrrmt^^-4 l 1 4 2 l 2

ffff....frfrfrfffrfrfffrfrffirfifl 4

/r.M, rrrrfrrrrrfrrrrrrrrnf f TF ,, irrrrrrrrrrrrrrrrrrrrircr-l 4

rrrrrrrrrrrrrrrrrrr//rQ''

4 l l 4

-rI*5T *^-m-*

l 1 V

Tremolo.Tremolo is a quivering motion of the bow, done with the wrist, as rapidty as possible, and in the upper half ofthe 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 stemsof eights and sixteenths twice. However, the student should be aware that this notation does not always indicatetremolo;quite often,especially in the slow movementsof Beethoven,Mozart,and Haydn,the triple-crossed stemsdenote accurately measured thirty-second notes.From the Symplwny No. 4 by Beethoven.

Adagioet c.

V tf tf tfV rfrf *f*fsf ppQuite frequently composers call for a rapid, measured reiteration of each note in a passage, most commonlyrepeating each note two or four timss. This requires a motion very similar to that for the tremolo. but it mustbe carefully controlled.From Parsifal, opening of Act II, by Wagner.Heftig, doch nie ubereilt (Vehemently, but not too fast)

l 2 4 l 2 2 4 1 (tim.

VivaceFrom Orpheus and Eurydice Act II, (also in the Don Juan Ballet Music) by Gluck. 95

2. f f f ,f fl '! 1 g 4 l 2 4

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

Pizzicato.A considerable amount of facility in pizzicato can be achieved by learning to play alternately with the first andsecond finger of -lhe right hand during rapid passages. This can be practiced by playing scales, exercises, andeludes pizzicato, and the eflbrt which is required to develop this technique will be generously compensated bythe ease with which fast pizzicato passages will be negotiated. Also, playing pizzicato in this manner greatlymitigates the difficulties of string crossing, often making it possible to use fingerings which would be far lesspractical if the passage were played with the bow. Unfortunately, the player who uses the French bow will find itvery difficult to use the two fingers alternately without putting the bow down ; otherwise the weight of the stickresting against the first finger while playing pizzicato will interfere with the independem use of that finger. Thereturn to ihe use of the bow is indicated by the word arco (sometimes Bogen in German publications). Thesymbol d, indicates that-the string is to be allowed to rebound against the fingerboard with a percussive snappingsound. This is encountered in the music of Bartok and other contemporary com^sers ; unfortunately, thisis also the symbol which one uses for the thumb when fingering passages in thumb position. Occasionally across (+) may be seen above or below a note. This denotes pizzicato with the left hand, and ismost usefulwith 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

1 1 4 4 0 21 2 1 1 4 0 4 2 4 1 4 0 4 1

lo 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 beatthe second off the beat. Similarly, during these four bars, since the lower note is almost always on the beat, r-verse the procedure, s that the second finger is used on the beat, as the up-bow would be used if the passagewere to be played arco.

2.2 1 2 0 4 2

1 4 1 4 2 1 1 4 1 'i 4 4 2 4 2 4 1 0 1 4 1 4 0 1 1 4 1 4 1

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

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, occasionallythe player will be directed to draw the bow across the string with the wood instead of the hair. This is to befound most often in the music of Schoenberg and his school, where it is indicated by the marking col legnogestrichen. 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 necessaryto twist the bow towards the player s that the wood com;s in contact with the string. This is done much moreeasily with the French bow than with the Gsrman. In the latter case, it is suggested that while turning the bowtowards you, slide the thumb from the top of the stick onto the frog. With either bow, play col legno at the tipfor 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

F J K r K r ^$ itcol legnoiQPFrom .Dm' Orchesterstucke byAlban Berg.

fcol legno gestrichen

Glissando.Glissando or parlamento signifies an audible sliding between notes, indicated by either a straight or wavy linebetween the notes which are to be connected by a slide. Ideally a glissando should be done on one string, butthere are times when this is not possible, and it is up to the player to do his best to give the impression ofa 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 lastfor the entire duration of the note.

From Ein Heldenleben, by R. Strauss.Etws ruhio-er

P

From the Symphony No. 4 by Mahler.Ruhevoll (foco Adagiai

97

Ponticello.

Ponticello or sul ponticello (German : am Steg ; French : sur l chevalef) indicates that the bow should be movedas near to the bridge as possible, resulting in a nasal, abrasive tone. Especially in the lower register, ponticelloplayng will often cause the fundamental tone to be lost, almost causing the pitch to sound an octave higherthan what is being played. The return to a normal manner of playing is indicated by the term naturel.

From En Saga, by Sibelius.

1

1 g

h J^

>

_^_-^ --T^r r * N -^ -^ -Jrf t t 1 > 'l~> > t . 1-^ * * * tai* , H*

" T n ' l -&m * * r r r1 ~ \ i T 11 -^ rnJ ; J ^ f -r 'sul ponticello

0:.l, t f. j t -./ \f\j m. lt h ^L=f

*

"i* ^'id^ M t*

i ,< (

^

1 J j. , t. f - ^ ^~^ J T ^ j. :^ rT S H

1 4 1 4 1

v i >> p f f i p f rTTf i'Tl T * f * * l 'T * "^ -Hyt; li., fy f ^ i^ rf fffr Wr f f j r l

2 4 0 2 ^ 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 conjunctionwith tremolo or rapidly repeated notes, as in the Sibelius excerpt just quoted. However, there are timeswhen composers will call for ponticello on longer notes. The following passage is from Verklaerte Nacht, bySchoenberg. 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 P)J P

Sul tasto (German : am Griffbreit; French : Sur Ia touche) means that the bow is to be moved away from thebridge and placed over the lower end of the fingerboard. The essential quality of sound of the instrument is notaltered, but the tone does become quite a bit softer and thinner. Even when sul tasto is not marked, very softpassages should be played with the bow well away from the bridge.

98Exercises 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

rfffffffffffff1 4 1 2 4 2 1 2 4 2 1 2 1 1 4 2 4

* i r r r r r r r r f r r r r r r1 2 1 1 4 2 1 1 4 2 1

l 2 ' 4 l l 4 4 1 1 4 4 1 0 7 o 11 4 1 2 4 2 1 2 4 2 4 1 l 4 2 4

1 4 1 2 4 2 1 2 4 2 1 4 'l4 l 4 l O l 'i l . .,l (l 4 l 4 2 l 1

Practice lhe preceding exercise with hese variations :2 Andante 3 Allegro 4

etC. e t c. etc.

ff-' (spit-calo)(3

* l etc.133333333 Adag-io

etc.

(tremelo)9 10 11 12

etc. e/c.-J

^^c^^^JJJJ

etc.

etc.

Legato Exercises on two Strings.

To be practiced slowly at first, and gradually with increased speed.

99

i ~^y* ri_ y \jl- =*-

^

^=

^ H

g0 1 4 1

0 1 4 1 4 l a i

l 4 l 4

l 4 1 0 'J 4

4 0 1 4 1 O

etr..

3'J-

4. l etc.

100

4 1 4 1 0 2 3 1 4 2 4 2

4 l 4 1 0 2 2 1l 4 O 2

1 0 1 4 4 4 4 2 1 4 l l 4 1 0 2

a - a

l O 2 l

2 * 2 2 0144 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 dealtwith during the preceding pages.

101

r"is1 3 2 4 0 2 4 0 4 2 4 0 1 4 0 1 4 f l l l O

o 1 4 1 4 4 l o

4 4 1 4 4 1 4 J 4 1 2 1 4

l 1 1 1 2 * 1 8 8

4 1 2 1 4 1 2 2 O 4

4 't 4 O 4 4 O l l

3 l l O 4 4 0 4 4 4 Q 1

2 1 4 1 2 4 1 24 4 * 1 4 4 1

2 1 4 1 2 4 1 2

J~l4 4 1 4 1 2 4 2 4 2 4 o 4 l l l l I I I i^ - ^ -i /. /. -i /. '.

102

1 4 l 4 1 r 1 4 4 4 1 4 4 1

_

2 t 2 4 1 2 1 4 1

4 1 4 4 1 4 : 1 2 4 2 4 =^H" *

): ^ =^^1 2 4 1 2 ' * ! 2 l 4 l

1 2 2 1

4 2 4 2 4 2 4 4 2 1 1 11 4 1 2 4 1 2 1

1 4 1 1 4 1 1 0 1 44 4 1 4 4 4 2 4 1 4 2 1 * 1I I I hR I

0 4 1 * 0 * 1 3

3 3 1 3

103Appendix l : Optional Fingering Techniques.

The general system of fingering in this volume varies slightly, if at ali, from that found in most of the StringBass methods in current usage. It is to be noted, however, that in Italy it is common practice to use the thirdinstead of the second finger on the central note of each position. Also, some methods published during thelast century suggested playing adjacent semi-tones with the first and fourth fingers. Without radical alterations,the student may, if he s wishes, expand the fingering technique which he hs learned in this book byincorporating a small number of devices that may be called upon to facilitate the playing of certain types ofpassages. Since the supplementary techniques frequently require the player to alter the normal hand positionto a certain extent, the student is urged to develop a strong hand position in ali positions before he employsany of these extra techniques in his playing ; if this is not done, instead of supplementing the routine of fingeringas 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, bystretching 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. Byexploiting the possibilities of extending the position, a considerable amount of shifting can be eliminated inpassages which are encircled by these intervals. The degree to which this can successfully be done will dependupon the ratio between the size of the player's hand and the string length of the instrument upon which he isplaying ; if any discomfort is experienced in playing the following examples without moving the hand, acompromise between extension and orthodox position can be achieved when playing passages such as thefollowing 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

fS

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

3 r

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

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

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

2 1 4 2 4 1 2 1 4 2 4 1 2 l 2 1 4 1 4 1 4 1 4 1 4 1 4 1 4 4 1 4 1 ^ ^ 4 2 l 2A D. j G D- .,

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 r4 4 1 2 4 1 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 ofthe normal range of the position. Unless the player hs a fairly large hand, it will be very difficult to play thetwo following examples in one position with accurate intonation. However, this difficulty can easily be overcomeby placing the thumb slightly lower on the neck than usual and rotating the hand upon the stationary thumbwhen 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 somewhatuntraditional fingering techniques which are being discussed in this Appendix. Usually the third finger is usedonly as a support for the fourth finger below the Ninth Position, as it is not considered strong enough to playa note by itself. Furthermore, the hand is s shaped that the manner in which the fingers naturally fali intoposition 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 otherfingers. And while there is no denying that the player is thus presented with a new potential hazard to accurateintonation, 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 isalways alert to the danger of playing out of tune, no matter what type of fingering he uses. Occasionally thethird finger, might enhance the preciseness of pitch when playing in the highest positions, where the clossness ofthe semi-tones requires a close cramping of the second, third,and fourth fingers if traditional fingerings are used.

yrtr1 .*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 :

*tlT Ur r r ri etc.

105

As carly as 1875, a method for the String bass was published in Leipzig, which advocated the independent usageof ali four fingers. This was, Anleitung den Conlrabass zu spielen, by C. F. Franke. This method of fingeringdid not rec:ive widespread acceptancs, mainly b;cause of the difficulties associated with the free use of the thirdfinger which are mentioned above. But during the last twenty years or s, an increasing number of playershave emancipated the third finger, or at hast granted it limited independence. Whether or not the independentthird finger should be introducjd into ths techniqus, and if s, to what extent, is a matter which each player andteacher must decide for himself. The following examples are presented to illustrate passages which mightemploy the third finger to some advantage, either in one position with some extension, or with some slightshifting or rotating of the hand on the fixed thumb. Certainly the playing of the first example, from the lastmovement of Mozarfs 41 st Symphony, is greatly facilitated with the indicated fingering. Many of these passagescould also b: played by substituting the second finger for the third, and using wider extensions of the position.

a 1 o 4 :s 1 o 4 :; 1 o :! 't :>, 1 :i 'i \ :i 4 :i i : 4 :! l :i 't \1 l

In the next example, (No.4), the useof the third finger makes it possible toprepare the first finger on the next String, providing for a smoother legato.

l 4 3 4 l 4 3 4 1 4 3 4 l '< 2 l l :{ 4 1 3 4 l 2 1 3 4 1 -2 H 4 3 1 1 3 4 4

Example No. 5 demonstrates the alternating of the third and the second fingers in the extension position.

iil*- -!**, . \>i

1 3 4- 1 1 'J 1 3 4 1 : ' , . ' + - 1 1 3 4 'i \1 2

6

4 3 1 4 1 4 1 3 4l -'i 3 1 4 3 1 4 3 1 4 3 1

/, 3 1 0 1 3 ' 3 1 H l 3 4 3 1 0 ', 3 4 1 31

11

.'i l (l 3 i l II 3

14

4 2 1 4 1 3 4D A D D A D

With the third finger and the extended position, it is possible to play several scales almost without shifting (Examples 14-18 ).

17p-p-P T">r

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

106

20 l)-- iil 2 3 o 0 3 2 14 'i 0 2 1 4'i i i i ; 2

There are times when the same note might be played alternately by the third and fourth fingers.

3 1

i :$ 4 i 'i i ' - ' '' >

107

Bridging, or stopping two strings simultaneously with the same finger, is a wonderfully useful technique for hand-ling this situation. If thr. fingers are to properly depress two strings at the same time,though, they must lie flatacross the strings instead of being curved in the usual manner,as is illustrated in the photographs. When bridg-ing 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 thethird and fourth fingers with the additional pressure which is often needed to secure the correct stopping of twostrings in this register. Also, when bridging above the Sixth Position, a firmer grip can be achieved by pullingthe 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.

2 ^ ^

4 :i i ._, , () ., -

In Example 4, raise the first finger when the E-flat is played ; bridge with the third as well as the fourth finger. * Tryto keep the second finger, which remains on the G string, pressed during the second and third beats, but if thisis toodifficult it might be lifted while playing the E-flat and B-flat. While playing the Dat the end of the secondbeat, raise the fourth finger, which is again placed across two strings at the beginning of the third beat. Try tokeep the third finger down on the D string (but clear of the G when the D-natural is played) during the secondbeat. 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, andpresses the string only when the C is played. If theD is played with the third finger, the second fingerneed 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 onlyon the G string ; the D and A are bridged with the third and fourth fingers. As in Example 4, try and keep thesecond and third fingers pressed ; while playing the C-sharp lift only the fourth finger, keeping the third fingerin contact with the D string but clear of the G. If the second finger can be left down on the G string in thisand 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 handis held in such a position.

Or it may very well be that many players will prefer to playthe C-sharp with the third finger, keeping it across the G andD string s during the first two beats.

Before playing the A at the end ot the first beat of Example 7, placethe first finger in position to play the low B. Bridging can be doneacross three strings; as is the case with the independem use of thethird finger, some special practice will be necessary, s that thefingers can be trained to effectively stop a string away from the tip.

4 l 1 4

y

-

p""- i

1 1 r l 'P- P- f r-P- - m p- p- r-P- p-Hp--

-p-r r t

'l 4 1 4 1 1 1 1 2 2 0 1 2

* Whenever the fourth finger is used in bridging, the third finger should be placed across two strings s as to sup-port the fourth, even if the first and second fingers remain lifted or on the top string only. This applies as wellin cases when the third finger is used independently on the upper string of the bridging pattern, as in Example5 ;

108

Examples 10, 11 and 12 : Sometimes brdging is very useful even if no adjacent fourths are involved. Crossingtwo strings with the first finger in Examples 10 and 11 and the second fourth in Example 12 is preferable tojumping back forth between the strings with the same finger. In the first measure of Example 12, the firstfinger can bridge along with the second ; in the second measure, bridge with the second, third, and fourthfingers. While playing the C-natural the fourth finger should be raised and then lowered across the two upperstrings. Try to keep fhe second and third fingers in contact with the D string but clear of the G when playing.the C-natural.

10

2 4 1 2 1 2 1(3)

2 1 4 1 2 1 4 1D---- ,(exendedposition)

Example 13 illustrates bridging with the third finger. The first andsecond fingers may either bridge with the third or be raised, as theplayers prefers.

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

4 l :i 3 4 l 4 3 3 1

In Examples 14-16,bridging is combined with shifting. Arrangethe fingers in the bridging position before the.shift is made.

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

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 orhigher. 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; againbe 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, asin Examples A and B.

TT p r TJ r r fj i-m-rffrS

t'L, . f f tf f n

Using the fourth finger on a stopped note in the highest positions works very well when it is preceded by noteson a lower string played by the other fingers (Examples C and D).

Using the fourth finger on a lower string than that which the otherfingers are on in this register puts the hand in a very awkward psition and is to be avoided (Example E).

3(

Several instances in which the fourth finger might be put to use with good effcct in the highest positions areillustrated in the following examples. Two minor adjustments of the usual playing position will make it easierto use the fourth finger in this register : Rest the neck of the bass on the left shoulder to give more support to thehand . and bend the first joint of the first and second fingers concavely s that the reach of the fourth finger willbe somewhat extended .

4 1 1 3 4 3 1 3 4 1 4 1

A.fFffffF^fr^f S_ _

4 2 1 4 2 4 1 2 4 2 1 4in; (d) (d) (d) (d

-. ' ^

^. . . f f f i f r f .1 2 4 1 0 1o

^2 4 1 2

(d)

^=

-4

_

::N h4i i

f^l2 1 4 2

D

^4 4 1 01

3 1 4 3

D_. _.ni f f s r .4 1 0 4 t ,

2

^^ 1 -T v v > v/ 1 1 ^ i.

2

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 hs not as yet studied theThumb position, for his thumb will not have the strength, facility, or independence which it needs inordertobe used in the following examples. Therefore it is recommended tht the student should return to these pagesafter 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 fingersthe support to which they are accustomed ; consequently it becomes advisable to rcst the neck of the instrumenton the player's shoulder to compensate for this lack of assistance. However, this is somewhat less necessary ifthe player is seated.

Examples 1-3 Some of the examples which were given to illustrate the use of the fourth finger in the higherpositions can also be played with the thumb and the first three fingers.

1 5 3 5 2 3 3 5

lE-e H-

3 1 ( 5 3 1 3 0 1 3 l 5 3 1 3 5 1 1 5 3 1 2 5 3 2The necessary number of shifts can often be substantially reduced by bringing the thumb into play is shown inthese few measures from Exercise 6 on page 42.

r f f f i f f f f f . i f f f f . f P F P f . F f r1 4 2 1 3 l O 4 1

In fact, many passages which ordinarily require a considerable amount of shifting or stretching can, by takingadvantage of the extensive reach made possible by the use of the thumb, be done with little or no moving ofthe hand.

') i + +3 ' d dA D G D A

1 3 0 1 3 l jj 3 1 3 5 3 1

2 l 2 3 2 3

5 1 a l 2 3 2 < '! l l 2 1 5 l 3 1 6 l 3 l J 1 3 1 1

e 3 3 5 1 2 1 t 3 i

f, 3 :j a fi .: i .: i1, -J :: 2

1 4 2 2 4 1 4 1 2 4 1 2.. 3 i .

f rf fr f ri f r i 4 1 2

h. P.

3 4 1 3 4 O l 3 l 4

VI. Keepingthe Fingers in Place.The player should avoid any unnecessary lifting of the fingers in passages which cross back and forth across twoor more strings. In Example l, the student will probably have a strong tendency to raise