francesco petracch simplified higher technique for double bass yorke edition19 RRL a7 contents Foreword and Introduction Avant propos et Introduction Vorwort und Binfihrung Profazione e Introduzione 1. Technique : Technique : Technik : Tecnica 2. Exercises : Exercices: Ubungen : Esercizi 8, Exercise : Exercice : Ubung : Esereizio 4, Exercises : Exercices : Ubungen : Esereiai 5. Seales : Gammes : Tonleitern : Seale 6. Exercises : Exercices : Ubungen : Esercizi 7. Bxercises : Exercices * Ubungen : Bserci 8, Exercises : Exercices : Ubungen : Eserci 9, Bxercises : Exercices : Ubungen : sere 10. Excerpt : Extrait : Ausziig : Estratto 11. Technique : Technique : Technik : Teenica 12. Exercise : Exercice : Ubung : Esereizio 13. Excerpts : Extraits : Auszlge : Estratti 14. Study : Etude : Ftiide : Studio 15. Excerpts : Extraits : Ausciige : Estratti 16. Technique : Technique : Technik : Tecnica 17, Bxereises : Exercices : Ubungen : Esercizi 18. Technique : Technique : Technik : Tecnica 19. Technique : Technique : Technik : Tecnica 20. Advanced Studies : Niveau Supérieur : Btiiden fiir Fortgeschrittene : Studi Superioriforeword ‘The method developed and explained by Francesco Petracchi seems to me to consti- tute an important contribution to furthering the technique of playing the double bass. It must surely also help towards attaining a considerably greater precision as regards the intonation. ‘The work should appeal to open-minded readers. It is a valuable addition to the ing literature of the double bass. Yo aaixps Wolfgang Savallisch Rome, May 1980 introduction ‘Simplified Higher Technique by Francesco Petracchi explains the thumb positions clear ly and aims to assist the player in developing a secure left hand. ‘The progressive exercises in this book, when applied to everyday repertoire, will render many awkward pass- ‘ages more easily accessible. The author, a highly experienced orchestral player and internationally known virtuoso, has taught throughout the world at specialised courses and seminars. This book is the essence of his teaching and is published here for the first time, Although it is not necessary to repeat all the exercises once the technique has been mastered, it is recommended that Nos 2,7, 8 and 17 beused as daily warming up exercises. Al studies should be practised slowly at first ‘and with the different bowings indicated by small Roman numerals. Alternative finger- ings are given beneath the stave and strings are indicated by large Roman numerals. ‘The publisher is grateful to Messrs Ricordi who kindly gave permission to reproduce extracts from the works of Billé, Caimmi Mortari and Selmi, also to Schott & Co for allowing the examples by Henze and Hinde- mith and to Josef Weinberger Ltd for permission to use the Fryba, Rodney Statford, London 1980double bass Francesco Petracchi simplified higher technique technik : tecnica 1. technique : technique "The Fingering System ‘Le Systime du Doigté Fingeratz 1 Sistema di Ditegiatura ‘There are three basic thumb 0 y a tols positions fonda- Fur den Daumen gibt es drei Le posizion fondamentali col positions: chromatie (r),com- mentales du pouce: chroma- Ausgangspositionen: chroma eapotasto sono tre: eromatica rising. three semitones’ or a que. (r), comprenant ois tisch (cr), beschend aus drei (er), che consiste i tre semi- Tinor 3rd,semichromatie (eer), demitonsouunetiereo mincure, HalbtOnen oder eine Kleine toni o una terza minors; sem\ comprising atoneand twosemi: semichromstique (ser), com: ‘Tere; semichromalizch (cr), eromatiea (eer), che consite toner or amajor third, and dia; prenant un ton et deux demi bestehend aus einem ganzen Gi un tono © due Io tonle (dat), comprising two tons ou une tleree majeure, et und zwei HalbWnen, oder elner una terzn maggiore; diatonica tones and a semitone or.a per. diatonique (diet), comprenant grossen Terz,dlatonisch (dit), (dat), che consste ai due toni fect fourth, Three examples of deux tons et un demiion ou bestehend aus zwel ganzen und ¢ n'yemitono o una quarta cach positon are given below. une quarte parfate. Voll trols einem halben Ton, oder einer giysta, Qui di sguito si danno ‘exemples de chaque position. einen Quart. fre. evempi di eiascuna pos diat {h sddition, the following En outte, les extensions sui- Ausserdem sind die folgenden Si adoperano inoltre anche le ‘extensions ae useful vanes sont ules, ‘Streekungen mitalich sequent extersioni 1 1 4 3 © 1982 by Yorke Baition 81 Thornhill Square, London N1 1B, England ‘YE 00642. exercises : excercices : tibungen : esercizi Chromatic and Semicbromatic Positions ‘hromatic, To obtain a good Teqato the thumb anticipates the next position by moving advance & tone or a semitone from the third finger” Before starting a study play these sequences and the various exer- cists in the key of that study Play in all keys, use no vibrato and do not beng the fingers at the knuckles. Eioreee Ze. is for changing. the position of the hum’, a Les Positions Chromatiques et Semichromatiques Bn majeur aussi bien qu'en ‘mineut ily a sept positions dont ‘quate sont chromatiques, trois Semichromatiques. Pour obtenit ‘un bon legato le pouce prépare Ia postion suvante en se pla: gant d'avance 4 un ton ou un Gemiton du teoleme dol. ‘Avant de commencer une étude, jouer ces séquences et es divers ‘xercices dans le méme ton que étude, Travallr dans tous les tons, sane wbrato et eansereu- ser Tartiutation de Ia main Lexercie2e,est pour lechange: ment de position du pouce. CChromatisehe und Semichroms- tisene Lagen In Dur soveoh! wie in Mol! gibt fs sieben Lagen, vier chrome Usehe und are! semichroms tisehe, Urn ein gutes Legato 2u eracln, greift der Daumen die ‘neste Lage vor, Indom eracine Position, vom dritien Finger aus, um einen halben oder gan den Ton verdndert. Vor Bepinn finer Bile sind de hier ange: febenen Sequenzen und. die erechedenen Ubungen in der ‘Tonart der Buide mu spelen. Es soll in allen Tonarton gespielt werden, ohne Vibrato und ohne die Finger an den Knéeheln 2u biegen.”Obung. 2c. dient zur Veranderung der Daumenage foun 338 Le potion! Cromatichee Sem cromatiche Sia elle tonaliti maggior che in quelle minor ct sono sette ‘romatiche € fun buon legato il eapotasto Antiipa M cambiamento. di Posisione portandosia un tono ‘0 un semitono dal terzo dito. Prima dl inizlare uno studio si fexeguino queste sequenze. i ‘an everett nella tonalita dello. tudo, Si studi Intute Te tont- , senza usar vibrato e senza Diegare le dita alle noche. Liecerciio 26.6 peril cambia- ‘mento diposizione deleapotastoCQ aia (8 e a 3. exercise : exercice : tibung : esercizio ‘The Thumb Le Pouce Der Daumen Police Pay this exercise In all keys, Travlereetexercice danstous In allen Tonarten zu spielen. segue questo exerczio. in les tons tutte fe tonal ees 24. exercises : exercices : tibungen : esercizi ‘The Thrwe Positions Les Trois Positions Die drei Lagen Le Te Posizioni ‘The diatonic position is omit- La position diatonique nest pas Die diatonlsche Lage ist inden La posiaione latoniea viene ted inthe lower register, Exer. trates dansleregitre inférieut. eteren Tonlagen forigelassen. omessa nel registro baso. Gli ciaes fe, and 4d, are variations, Les exercices 4c. et 4d, cont Die Ubungen de. und 4d. sind eset 4c, e 4d. sono variant des variations Variationen. $123 (Fie +123 Hang a 4 a Gini shat gio am a vo0éi2% 17. exercises : exercices : ubungen : esercizi Dominant Sevenths Septiémes Dominantes Dominantseptakkorde Settime di Dominante ‘The following short exercises Fare les courts exercies sul- Die folgenden kurzen Ubungen I soguenti revi esercizi dovreb- should” be. played dally and vants quotiennement et avec soliton tglich und mit den bero eaere exegul ogni giorno ‘with bowings (i) ~ (7) lescoups darchet()~ (0). Bogenstrichen () (0) gespielt¢ eon | coll a’arco(}) ~ (). werden, ae @ pte ao 2 = wi oF V @26 Gi) tia 3), wy) a a Teens ala punt “a punia 18. technique : technique : technik : tecnica Avecioatticomis Angee dapefomnd apes Ape a These are the most common Volei le doigté des arpiges les Diese Pasagen geben die hGuflg- Questi sono gli arpeggi pid arpeggios thatare fingered using plus couranisutiluant les har: sten Arpegeien wieder, bel de. comuni che vengono ditggati harmonies. moniques hen die Fingersitze Flageolet. usando gli arnonic tne enthalten. te 23 3" 2 e ur ser @ mI ci YE 00640 19. technique : technique : technik : tecnica Fourths Lee Quartes Quarten Quarte Fourths in thumb position are Les quartes en position de Quarteninder Daumenlage sind Le quarte in poszione di capo- difialt. One solution is found pouce' sont eifficies. On peut schwierg. Eine Lésung ist dle tasto sono lfc. Una solu- bby adapting the old method of trouver une solution en adapter alte Methode, die Salte seit zione si trova adottando il vec palling the strings to one side. V'ancionne méthode qui consis- wirts zu ziehen. Der normale chio metodo di trae le corde ‘The normal part of the thumb tata tier les cordes d'un caté. ‘Tel des Daumens bleibt in de presses the sting down, in On appuie la partie normale du Lage und drickt die Salle position, whist the tip proses pouce surla corde, en position, aufs Guifforett, wihrend_ die the lower string tothe right @, tandis qU'avee Vextrémits on Daumensptze die iefee Sate spinge vero destralacorda pi NB. The lower string is not pousselacorde inféieure versa nach nechts schiebt. (@) NB. basa 9), NB, La cords pit bas pretsed tothe fingerboard, "droite. @) NB. Ne pas sppuyer Die efere.Saite wid nicht sa non vene premuta contra la cevtte corde sur la touche. sufs Griffoettgedrkt. tasters, 4 Gi) (i) Ge) © SS SS 20. advanced studies : niveau supérieur : ettiden fur fortgeschrittene : studi superiori ‘These three studies have been On a Indiqué le doigté dans les Diese drei Etiden sind mit cin. Quest tre stud sono tat! diteg fingered to explore the pos tls tudes sulvantes afin dem Fingersttz versehen, der es gall per esplorae le posionie tons and techniques disedssed explorer les positions et Tet ermiglicht, die besprochenen fe tesiehe dacusse sopra above Techniques préenties cidessus, Arlen det” Techni und. det agen auszuprobieren YE 006428 ‘Trenieasuperlore Nod alo Commi s Veen: TF a uo u sc laa 2 eae : tag al y dyn a bee 15s ays z Zr . - 2 Vv T=. 3. as SE gl feed oka ot oie m Wl m= 2 T a 3 ri rae or ig m = ser it mL YE 0064419 3-4 2 iw Sa Tam wo 24 SS cr 1 YE 0064 OG Ricordi & Cxp.a, Milano30 Mosso Capriccio No.3 Isai Bill aen ‘YE 0064oF Ty or 1 TieazeT Ber er or : 1 V i I: Vv OG Ricordi & Cs.p., Milano YE 00642 aoa 20 Studies No 16 Annible Mengot aa S n__-_ oe W Ww i 1m ‘YE 0064‘Ser dat uy pool ©G Ricort & Cs.p.a,, Milano