rot Lt ( ( COU cx ( POOSEGPEGERCOOO NRO ORI TGO RII OO ROAR III IO ORI Cae _ Rx Tne SHEER EE TION DIE EC CIEE eX, SIMANDL ESCO COC CO ICCB ROCCHI # KX, NEW METHOD FOR STRING BASS PART II Preparatory Course for Solo Playing es No. 982 CH RIO INTERNATIONAL MUSIC COMPANY NEW YORK PERE HEHE RE BH BE BH HN MR BH SHI EEE EO EEE SO MH CRON HC CEM MEE DENEW METHOD for String Bass Edited by WALDO LYMAN PART II ie ae THE THUMB POSITION (18401912) In cultivating @ technique for concert playing, the thumb position constitutes one of the most important features. for only by these means is it possible co raise the String Bass to the rank of a concert instrument. In beder to retain the thumb posicion, the player must lay his left arm upon the sides of the inscrument, placing that pare of the thumb becween the first joint and the nail horizontally across the string. As the thumb may be placed lightly upon the string (producing harmonics or Mlageolet tones) or firmly, pressing it down tw the finger-board, I consider i¢ expedient co use a differenc term for each manner of setting the thumb, viz: to indicate the thumb-position producing the harmonics or flageolet tones, and for che firm setting of che thumb. ‘The first finger is placed upon the string slightly curved (nor beatin), in such a manner thar the extreme tip of the ball shall press che string without, however, touching i¢ with the nail ‘The second finger, which presses the string down, more with che middle of the ball, is also placed upon the string, but is curved comparatively less than the first. ‘The third finger must be straightened out eo be placed on the string: owing 10 its being so short and weak, it is seldom used independently, but mostly with preparation. It used co be employed only in exceptional cases {to produce harmonics), as with the striags formerly used, the requisite power and quality of tone could nox be obtained. Since, however, considerably thinner strings are now used for solo-playing, che use of the third finger is no longer so limited; it is, in fact, pretty regularly used w finish scales and florid passages. In. the execution of big skips, the second finger had better be employed, being the longest and the strongest, as it is easier to make sure of correccly stopping the higher notes and tones with che second finger chan ie is with the third ‘The fourth finger is not used whea thumb-position is employed n Exercises in thumb position on the G string — hie —4 Exercises and short studies in thumb position in combination with the other positions Me Coma OO Poeits du i aoe ‘The following scales are to be practised first slowly, chen gradually increasing the speed Allegro maestoso baie onist han) —— spat %e +! 1) west-Ciajor < Allegretto ates{a order to facilitate the reading, high notes are either written in the tenor clef or an octave lower, in the bass clef. In the Larter case an 8 of 8-va is placed above the notes indicating thar che passage thus marked is to be played an octave higher up to loco, this word meaning that the notes should be played as written. 4 2 teat SEfe ete, eee layed inthe following mans,When playing the scale of D major ia thumb position, the player has the choice of evo sets of fingering ft ae: Ades fe 2s, Moderato. eee cen oonatst® fPasesa!B -fle minor scale Wee ereisit:B major scale Allegro peeeocccecesite et fete a> tet ae tote aia 2 =I ———— ===> BE fe vttes? fo gp /eoeetest verrarte ret a oTate patta 2% sete stents Sa ao fies, PSSOSHSSHOSHHSOHSHHHSSHSHHHHHHHHHHHHHHHHHHHHOHOHHOHECEep wn wa Snbrssstpreeileet ceil See ieee 0 iceee sect, <228 cet Sleepers eee Sa atte eete 2822 22% a =a pads; aes tee itar 1 " acteasta e222 otto = teste # 2 Ss pecececeseoceD minor ate Spee ee < — taper = Moderato = a ta feet Axe 55° fees part wat Frat grat aaet pee a eee ey 4 PSPSHSSHSHSHSSHSSHSSHSHSSHHOSHSHSHHOSHSSSHHSHSSCHSEHHSOCHOSSOSCHCELEiat tates? Exercises in thumb position on the D ond G strings —e fife tte siete sett febe P@e@eeeeeeeSeeseseeeeOeeeeeeeoseee eee 8eeeeoe2eeeeeeedwb ies Ghee oy eens a VSSSOHOSSSESSOCOOS OSE OSHSSCHOOLCHOSPSHSHOSHSSSSHSSSHSHSHSSSHHSSHEHSSESSSHCOSSESOSSESSGECCCOCEE NN eu 4 (ou a rr a au \ Lt my Vai #1 a = Oly cMy ou (au Vou ay ou ion on the A, D and G strings Exercises in thumb position on the E string Ai 4u (uu ou om cay wu Exercises in thumb po:io Peo? Oe 2, e f Pate sien,at fie ffs 1 Sabb tthe ease = be @ OO 0000000000000 00808800000 0080800000000 00088e088C86POSOOSOHOSCHHOHSOHHHHHOHOHHOHOOHHOHHHOHOHOOHHOOOHEEOOd 20 Allegro moderato ___rp@e@5aeaecaeceoeooeooeoeceoeeeeeeeeoeeeeeeeeeeeeeeeee8eeeee8eeee @'# minor scale ey Tyorers Allegro non troppo_ ° Toe stStor ett fees,POSOSOHSHSHSHSHSHOHSSSHSHSHHHOSHHHOHHHHOHHSHSSHSHHOHOHHHHHHSOOHEOOO F major scale Qorsty arist °t THOTETT GEESE 1 Tberrg tt Tales Moderato Study Ill26 ae a Peisrreres fo oe Allegro moderatoROSSOHOSHSHSHOHSHOSHSHSSHSHHHHSHHHHHHSHHHOHOHOHOSHHOOHOOOOEOE Steos aviosta® # olen —28 F minor scale Taree a itvary g wate vere 5 Tito ew ae Allegro vivo apo Stinks 5 et Aleta — ee iS Seles oe? cieet _ etact © a5 aa oebe 2000082 3 f= VESSOOSHSHSSHSHOSSHSHOHSSHOHSHHSHOHSHHSHSSHHSHSSHSHSSOHHHOSOCOOOE€f Pee, tle Poe = ST "e@easceccecoeseseseeeeeecesseeseoesesseeeeesesesoeeeeeee eesPRSSSHNSSSSSHSSSHSSHSHSHSHSHHSSHSHSSESAEHHSSHHSCHEESOHEOE ob, 52 da 98 gad A 2p. eet ELPA viais ay erg 4 et ——F sharp major scale Maestono fi Study Vilagate oat Pee one, SS ete, =e iia? Es POSSSSSSSSSSSHSSHSSOSSESESSSCSOSSOSOSCHSOSOSCEOECOSCSCOSECOOSBESSEOSze seeSOHHHHHSHHHSHHHSHOHSHSSSHHSSHHHHSHSSHSHHSHHOHSHHOHHHSHOOSSEES:(G minor scale k eeeeeeeeos ee TTSE yp aroaig feuttestsle seine erat are a 7 —.4e — -seeeatt EFEEE Tt tat £iteterestentes peeeeeeeeeeeseeeeeeeeees \ fete eet senatebo ee et re ee ee | be epee oS eee ea ee, peseciitert £ £255 bee __ Tempo I : = Ht err te teres = septest = —> ef tte traeExercises in Chromatic runs sree tho nut 1_ aS et et te abe abe whey oe Ser = = Sa = {Studies in scales and broken chords The following scales are all c be played in the style of the © major scale, spetet EPtre Te Tare | C major scale Begin by practising slowly and with detached bowing, gradually increasing che tempo and playing legato major triad in three pare arpeggios Sinall"Hepenon we wthet oe re in four pare arpeggios te Pe ot ere trer aT CChord-of the dominant Seventh in four part arpeggios — cabratt af 7 3 poet Pas Melodic A minor scale = aciatt Steines, Set eee: A minor triad in three pare arpeggios sit ep — Small arpensios = e a = > i thHarmonic A minor scale = 2 ere wecttt Etitec,Melodie D Minor ~ = Det et POOOOOOHHHOHHHOOHOHHHHHHHSHOCHEOSEtet Jiaahbthe bags, Bde, a 4 seh B is Ete bee, eeePteee, =a oe See | | | | eeeeaeeneeoooeoeo2 £ Se on Pee 2eee fteo, £ on jelodic C minor Msee Ei he othe te. 2, e - Efe te ot _pstcste #, t,t Pte Pe, ot Ete A flat major es a8 Melodic F minor fF, stat Ete te. SSS Harmonic F minor G major= eee Melodic B minor Harmonic E minor SPHSHSSSHSSSHSOHSHSSEHSSOHESSHTESHSHOESHHESOHEHSHOHHHCHHESOCEHEE4Eae Melodic F sharp minor Harmonic F sharp minor -PSHPOSCOSOOOHOHSHSSHSHOHHOHOHHSHSHOHOHHHHOHSHHOHOHSHOHCOHHOOEOSEOEEE TI E majorMelodic C sharp minor SEM tee Harmonie C sharp minorTater 7 = Melodie A sharp minor Pen @an- ts ae ot Pa ny8 “The studies in scales and chords in B major,F sharp major and C sharp major as well as in G sharp minor, D sharp minor and A sharp minor shouki be tansposed enbarmonically ag written exercises into the remaining scales and chords, into C fist major, G major and D flat major of into A flat, E flat and B fat minor, the fingering being retainedEXERCISES IN HARMONICS Harmonics (or fageolet tones) are clear flute-like tones produced by lightly touching the strings at certain points, withouc pressing chem down. They are indicared by an placed above the figure denoting the fingering or merely by the violin clef. In playing harmonics che bow touches lightly the strings and approaches the bridge. The harmonics most often used are at those points of the string where they may be produced by pressing the string down. They are mentioned here once again to show how they are indicated: Notation in a che violin clef e On the G string On the D string On the E string ‘The harmonics indicated in the chumb-position may also be taken in the lower positions, chis sounds e i os @ also in the 4th position on the G string scopped with the Ist finger — or in the 3rd position with the the D string one can stop this ither in che 4th position with che Ist or in the 3rd position with oh finger the A string one can stop dhis -ag-E= cither in the 4th position wich che Ise oF in the 3nd position with 4eh finger. the E string one can stop this ag-®= ther in the 4th position with che Ise or in the 3rd position with the 4th finger. = @ Besides these the following harmonics can be stopped in the 3rd position with the 4th finger: — ae: ge On the G string On the D string On the A string On the E string Sa peeeeeoeoeeeeo‘These harmonics are used co ascertain if the insteument is cuned perfectly. First the harmonic « in che 3rd position with the 4th finger on the D string must_be obtained pure; then comes the test whether the harmonic ¢ in che same position with the Ist finger on the A string gy-== is in perfect came with the 4 of che D string. If these are both in cune, the other strings are treated in the same manner. Scop the harmonic ¢ with the 4th finger on the A string and try if the same tone is obtained wich the Ist finger on the E sting, ie. gg Finally ey if the harmonic with che fh finger on the G string 48-=- sounds the same as the harmonic d stopped with che Ist finger on the D string B= BS Exercises in the above ways of producing harmonics Begin by practising slowly and with detached bowing, gradually increwing the compo and playing legate A ee aw =POOSOSHSHOSHSHSHSSSSHSHSHSHSHHHSHSHOHOHSHSHOHSHHHHSHHHSHHOSSOOESél rwaRRRE) 0f £. o. Reo F 725 —— \ = rr a 7 Trooteoe e e e e e e e e e e e e e e e @ e e e e e e e e e ® ® e @ @ e @ e e e e e @ ® e e e e e @ eSOCHOSSHOHSHSHSHHSHSHSHOHSHHHHFSHHPHHOHOHHSHOHOHSOHSHHSSOHHOCEtoe 28 23 as a © OOOO OS OOOO FOO 0600000000000 09000 0.0.0.0.0,0:0.0,9:9 © 004 64Harmonics in the highest thumb position By placing the thumb on the point where the ro lies the other fingers will produce or stop the following harmonics: = On the G string On the D string ip ho «.-. te a Siok On the A string On the E string MH bs spleen oes os to tos og fe As these harmonics can also be produced in the lower positions, these are suggested in preference to the others, as in the first place, they are more convenient to stop, and secondly, the fingers need not come into contact with the resin which always settles on the strings near the bridge. Harmonics in the 2nd position On the G string On che D string 0 On the A string On the E string ae: Position of the hand (ESE Position of the hand = | Sounds in harmonics (faapasre| =—T a : ‘The harmonics marked * must be stopped slightly higher chan che narural cones in the hand position. Position of the hand Sounds in harmonics Sounds in harmonics Sounds in harmonics e e e e e e e e e e e e e e e e e ® ® e e @ @ e e e e @ e @ e @ e @ @ @ @ e @ @ ® e e e e e ° e =Exercises in harmonics in the second position & : " S s KGie Nee: COCO OOEE SOOO SOOO OO OSEO OOO SOOO OEEOODOOLOCLOOLEES@ The first position The firse posicion contains in small gradacions several harmonics, as follows! Bight on the G sceing, bur only six on the D, A and E strings, owing co che fact that the other harmonics do no: cespond easily aor sound clear on the thicker stings. As chese harmonics lie very close jgecher, it is expedient co use the four fingers in producing them, as will be seen from the following examples: fife \ On the G seeing Position of the hand On the D steing sounds in harmonics Position of the hand On the A strin sounds in harmonies Position of the hand On the E string sounds in harmonics e e e e e e e e e e e e e e e ® e@ e 3 e 3 @ @ e ® ® e e @ @ ®@ @ e @ 9 e 3 @ @ @ e e e e @ ® e e aLe a 1 aa ot aut iM eB) fi ike 8 aut. 8 Hh. ee AHR. 8a Oe aH. Sth eg @ Exercises in harmonics in the Ist and 2nd positions ! ! 4 - salle ir = r wt t ||) He Aas tH] - a 3 . Noe ©0000 OOOOOOO0OSHOOOHOOOCOHO OOO COSCO OOO OOOO COREE OOE jou) eePPOHOSHSSHSHSHSHHSSSHSHSHSHHHOHSHSHSHHSHHHOHSHSHHHHOHHHSHSOHOOCO 2284 6 Bap7 ‘There are also the so called artificial harmonics produced by pressing the string down with the thumb and Tightly scoping the fifth, fourth and third above with the 2nd finger (flageolet-tone), the following tones resulting: ‘2) with the fifth, one obtains the fifth an octave higher: actual sound: actual sound: { Nowion: | e e e e e e e @ € e e e e % & e @ e e e e e e e e e e e e e e e e e e e e @ @ @ e e e ° @ @ o e aPOSHOOHOSHOSHSHSHSHSHSHSHHSHSHSHHSHSHHHHHHHHHSHHHHOHHHOHSSHOOE Exercise Only by combining these three varieties is it possible to play the chromatic scales in harmonics, as will be seen by che following example: bo aa with the fifth with the fourth with the third ExerciseARPEGGIO _ Arpeggio is the name given co a broken chord, the notes of which are played across cwo or more strings and melodically bound, ‘As the arpeggio enables the player to produce a variety of effects on the string bass, ic must be played with a slight emphasis on the lowest, i.e. the fundamental cone, 0 be followed with elan by the higher notes, the fingers remaining on che strings whenever possible, while the upper-arm must not be raised in a noticeable manner, most of the action proceeding from the wrist assisted by the forearm. Exercises aise ee ered 2 sine onl weer me atte ae Various bowings ath er calla ts fat ete + Ee ae ee PeLVvsSseeec4eCe0eoeeee0ee0e0e0ee00000ee00eeeee0eee000000008080OOOOH HOOHOOHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHOHOOE Vatip, Gate, Gito GEER atta cota atta ate vg? (2220) 4220 /¢ ABER Jit GED GEER AEE (BE AEE ES ee, ceeDOUBLE-STOPPING Double scopping rarely occurs on the string bass, yet it is noc alcogether unimportant to get familiar with ie In double stopping the chief thing is pure intonation: the fingers must serike the strings simultaneously and stop them firmly, the bow also touching both strings simultaneously.Andante —he 42 ——— es awd t¥Rd¢ sv am = a = a Sil tease ot d ¢ ea de ed at diminuendo yp @ eo e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e e@2 e e @« e e e e e eTWO CONCERT STUDIES I. Allegro non troppo y £22 ties Un poco meno mosso sce aaa See doleeOF 0OOHOHOOOHHOHHEHHHHHHHHHHHEHHHHHHHHHHHHHHSEOHODa (PbbiED Giza. “er, s2faae | SPOHOOHOHSOHHSSOSHSOSSSSOOSCHOSOOOOSESCEOEbetel Meno m Qe =Andante quasi Recit. —~ 6) =i ge aeien®) £)2)£)% ——S———— Ss Pill stretto be Rete es see terre CES ceeteeeteeteee af cf —— As $= SSS Tempre ecaraitesanand ? acon