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,r
l

I NE,W ME,THOD
for String Bass
I.tlitt,dl,r' ll,I LDO L)',11;11 PART II
T H ET H U M BP O S I T I O N F - R A N ZS I \ I \ \ I ) I ,
constitutes one of the most important
In cultivating a technique for concert playing, .the thumb position
these -"un, is it possible to raise t h e S t r i n g B a s s t o t h e r a n k o f a c < > n c e r ti n s t r u m e n t . I n
fearurcs. for.nl1.by
h i s l e f t a r m u p ( ) n the sides of thc instrument, placing
.rdcr t. retain the ihumh position, the player musr lay'
n a i l h o r i z o n t a l l ) / a c r ( ) s st h e s t r i n g . A s t h e t h u m b m a r b e
that part of the rhtrmb b"t*"e., the first^joint and the
t l r f l a g e o l e t t o n e s ) o r lirmly, pressing it down to the
ptac".l lightly upt>n the string (producing harmonics
for each manner of setting the thumb. r'iz: to
iing"r-b,ru.d, I cirnsid"r it e*iedient to .ri" u different term
for the firm setting of the thumb'
i'clicate the thumb-p<lsirion producing the harmonics or flageolet tones, and

(not bent-in), in such a manner that the extreme

The first finger is placed upon the string slightly'curved
tip .f the ball rliult pr"rt the string without, hon'ever, touching it with the nail'

The second 6nger. which presses the string down, more with the middle of the ball, is also placed upon
the string, but is curved comparatively less than the first'

its being so short and 't*'eak

T'he thircl finger must be straightened out to be plirced on the string; owing to
only in exceptional cases
it is selcl'm used independentlv, brit m<>stly'with preparation. Ir used to be em1>loyed
(t' produce harmoni.r), o, *jirh,h" strings formerly used the requisite Power and quality of tone could not
the use of the third
be obtainecl. Since, however, considerzrbly thi.r.rer strings are now used f<lr solo-playing'
passages. ln the
Fnger is no l6nger so limited, it is, in fact, pretty regularll' used to finish scales and florid
as it is
"*".,.rti,r., of big skips, the second finger had better be employed, being the longest and the strongest,
of correctly ,tof,pi.tg the higher notes ancl tones with the second frnger than it is s'ith
casier to rnake surg
the third.

The fourth 6nger is not used when thumb-position is employed.

in thumb positionon the G string

Exercises

O.

b.

C.
--:>. /a- -'t- -

b;T) .ce abQc

€lp
1-r
'i-

d.

t ;E le t-
' F F .
!Ef, *?* t- Fr
+ + +
C t
r
e21

e.
,--------::\
2??? "]
r r TF t-s T -
+- --

Copyright 1948 by InternationalMusic Company, New York City

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

Fr
r'r
f-- -___l arv
?'))
- f
ri-

o P e?e
r-t-'-t-
E - t- 'i-1'-
I-,r---r--L-

Q I

B tlat major scale

4 t)

i t? t2 --:--.--..-' .
E ir -rr- )t

-I'he then gradually increasing the speed

follon'ing scales are to be practised 6rst slowly,
Allegro maestoso

'. StudyI
 flr r
r r
*l
rr it
7-r
el
fi
F T
>!2
t a

,1Ti ir?) g EF
t
-_-\

F
r
1 - t -
t is + F
E F
F
O .,;7t1a1,.
i- J- r_ ]_ t- ]_ J_ -
,T*;i.
c.

:i t'ii
---.
_r'Er
-
Cjtt
--:-
=elee
E Er'
{6i' r z-T---

tEt ot. t

C major scale

uTi-o I
Allegretto
m h
t/ll
:tt e:l?t
''r2.

.d
t.irr ?r--IEi

eo 1-.
2a,rl
- FFT ) j
t- t-
,jIJ
F - ! - F '
)
In order to facilitate the reading, high notes are either written in the tenor cle$,or an octave lower, in the bass clef.
In the latter case an 8 or 8-va is placed above the notes indicating that the passagethus marked is to be played an
octave higher up to loco, this word meaning that the notes should be played as written.

is played in the follou'ing ,nanner

is played in the following manner

i ri; L +-? t-t -1-
t-
:- 1-- F t-

- ilot'o
l
* l
T-

t. is play'ed in thc following manner

- e t | _c l f

9- : s I r L r v e di r r
the lbllou'rng
m a nner

orl'._. d
e rgce eif' ntit
h.
g z--a-;.t8,
",H
zr ? i f :--< \z-= '-----=.--
- FF 1-t- +Q

t 9lz-", \-f7:
{€1 6;i Gi'=- ."'^i

t.

' lt { A r 6 ^
tt
v-------{/
2/-:> .-a--: -T\:
tr
e
 / :
\\'hen playing the scaleof D major in thumb position, the player has the choice of rwo sets of fingering
o

l) mal<-rrscale

Moderaro

- r-1

t6*
4

.J
I tlar minor scale

Andante

-J
,t tSO$-.
---
f-- ; ----..-.*
2__b,

- h
o . .l -_; ; y

Tempo I
. ?b. . t

..J."
??
€-)
B minor scale

.A.llbgfetto
li- . ti
' , ' 4 1 4 1 ? l 4 t 4 l 2 l
? r 2 4 a 2 r 4 2 1 2
l.; o
u.
i

l ^ 3r ,
EtEa*, e
- - - i

)
{et ,')1

t 2

?ii,:
| 1 l I I

(tx;
r l i 4 . 4 l

/-r
;'." C
*ent
f , i

| | 'e4
4 t

G; ->,-=\ -G
:D:,-:--\

i
10

B major scale
1 t t 4

Allegro

;>:l

.-- a :::.'
 l|l

ffe

?+J{
J , - r
- . 5 - 1 . -z-T
1 2 t 1 ,-- T- T-I_=

f l
?t
---l
I.

l):Jr' f),; bi
1_
1-

P.

\ l l t h e f t t l l o u ' i n g h n g e r e x e r c i s e sa r e a t f i r s t t o b e p l a t ' e d s l o w l y a n d w i r h d c r a c h e d h o w r n g . t h e n g r a c l u a l l r f a s r e r
rr ith the hov.ings as inclicirted.
'-ttlt I
r-r't;{*
q.

----l-\

'?n
---_l-.

|
r
?
'--\\
ttt
l-t-r t-
r fF r rti .,---.---_
t -t ?Pe l2t c?
r_ir- --:r

'--\ -
2 a
I t+2 tltt?

I
T-

i
tl

D flat maior scale'

at t<-f1
^lt"-gi$
,

-a-\
?
Ct1
fF.^r?*a -

- _:-_-_{_..l-;

tlt- iC
+

--H=*

iirtnt? ? ,i.,

l+? ?
F fphi] a:i)

z-:-\ .'1-]-' a;-l-

G; ra- ;Eff-'
rr r r Fr't J:> a6ii> tt'-I) t;;i,

trt; -ili\
-->

4 z | 4 i r
af-----\

1 2 4 iT--_i 42 4
 13

! rharp min<>rscale
t rTl 4

Andante
D
9.
P l t 1a ' a l ? 4
t-'

.-a- - - . \
> 2 l
>F,p
le "6:) -l-

t 4 4 2 1
1 '

f. --:-----\
lfrt9 -
-*)L*-

{'-rn;l?
-
- F
l;i
! ts .F
.{-
+
:-::=;lt-
+- t- +- i- ,

-, .,^a
. _
| 4
-----=-\ /-:) -.\: *-(:i;
;;l- )ett
-r-l--
f-r-a r r t

-'----
:J;it ;)>
l o 4 ? 4 Z 1 a 4 t . . t

€{/ ;ii ii) :;i G* ttn e .2e

r ) L - \ . r ? 3 r .e- :t z-_
j
o r t-3--1-? r-3-3--l , ,t__L. {
t?f?+?Et == 2:e 2=+--Q o

,
l l
lr 5

(t
i-t
r r A
Moderato ..--i' /' t-
;--=-\ '1!'_---_
10.
4 ?
9r41 1t4t trr4r i-Ta

1--i- ia*i 6EE

-t-- --t-----
4-i---64rPr 1 2 4 z

sPqF*;
;-\ /---

.-:-;-> ,_-:-__

leD;:;i :--l-..

r>
.r t.ad ' . 1 ? 1 , ! r 6 t, .rrbfr
s t t b + b r t

gD -1-\'.
/':, ,---i:

7 r z + 2

t;\
t 4 r g t o t 2 4 2 1 t r

;.)> ,-
 in thumbpositionon the D string
Exercises

in thumb positionon the D ond G strings

Exercises
Gs. ?
+
I (t
/-T--, ---T- --1-) o" =
--1\

d.

,-->:--- ,- -^l\

-o l u A ' .' r - - l
|
Ge{ii;fii; o r ' 2 1 1 z , ^ t C C ^ )

2-o

e.

in thumbpositionon the A string

Exercises

o.

b.

c.
| 2 3 1 4 3 l

d.

^1 a i2- --.

e.
r ? : { c I l:
g
.)
'
 in thumbpositionon the A, D ond G strings
Exercises

b.

c.

lri ?+ r ) /'-->
F
r f
tr r F
F i -

:Elt^)\ <- - ______a

d.
'a-l

.'--'-..:.-) ]tfti:\ D 11 loco

/'-:-

Exercises
in thumbpositionon the E string

s' 2 6 1 ' d 6 ? 1 6 c
rB

C.

in thumbpositionon oll the strings

Exercises

z----l--
:7/; t

;-:\-
 E x e r c i s eosn d s t u d i e so n t h e h i g h e rt h u m bp o s i t i o nisn c o m b i n o t i owni t h t h e o t h e rp o s i t i o

o.

b.

- t

--;-\ I

r t r$ I

r:-\
, ' \
c.t

-.*-,_-**

a:-r5:-\ /-->5 -)- a:;1 i;;>

't llf ]'
a-----------
r;t- /'-:> i:l)

A 2 2 2 2 2 r 2 l 2

- l - r s . r
, t)\"2, s
. 5i.\. rr-.i> ; -{
az T-eT--e-T- ? r 6 t i ! - - r
l " tArz
8-r::::*-==-tfED <-- t;>}
.6R t-;:\ /-^> +-1.

t r 6 r t r
l0

E tl.rt major scale

T--a | 4r-
Allegro moderato .

StudyI

4 2 1 2 4 =EE 124?
n + z 4 a

.--.' Aii .-h;lx ,llctJ)\ 61

i+T rz-r z- + l l +-t--T--*-t'ta-
ilr,l;.,*rri"".,

---
-T tl,',, l'.i
- -I- - - - - - jt- r = ,- - i - , t
)22 t,; nii,^ - ;a',.9

"L:_t "_j__q d_l_g 'c r 11 :t ,)- 1 t r __

J L v

\{f * Dlr,^.
t-- a..-" t

Tempo"I "'

| ? 4 4 2
 il

eno mosso
'i;\.

--

.T-- ;i) .f,r

D] j'---\- L ---\

:l

l ^ l (
oQ pt),.l,.T.. :

Tempo
,G
- : F
)

8-- ---------,
 d.
, r'rd

" -- -ffiil;. -'.-..]e

.
;t?i# ;_; ;?;ffi- ffi;

E minor scale
r rdc r 4 t o 4i o ? r O a i :
ti"" i a o t a t

Allegro non tropp()

r;
/1
- 6;;t?'k-F\ 1; ila (; ? :-:
Srudyll
1r14 r4?,

4-
A l ? O

tr?xflt l] ':---.. /; Iv . a
fi

4 4 O 2 ,r" \
t--.
I /: ^-i
D..--r -C

S a l r ) rs afr
E---------- ---r:\
i) .----. --:

r t r--i
 -.)'.,
.)

-u{+i

t ! ! !" . | 4 l O 4 t 4 t ?

il :-:

4 l O 4 t 4 l 4

3 8 | 3 t t r t t
r 6 t I

_<\
f,?itiii ti t ri)
f+ 2 2 | 4 1 4 4 t 4 t

r#,i> (irft:: .-; r;;, N----,

4 a r
1 4 z { V't
-'-t-:: --:---- ':--..-\
i$;; ?
r
<--;-l-\-

e.

,':..'-'- -1------'.
----==- <-a.-----".------ a;:--==- 1;:----

a a ? r 6 l 2 2 A p 1

<--_-\\-

-------.-\\
a------------ <___________

t 6 l P

,---------:
.) I

F major scale

Studylll

-;-:r;_:r|r;

8------------rf

/':\.
,a'-)
. /_ t+ 61
 lIr

? a ' a | 4 2
ffriTr421

r---]

r- r-l-

2 l
i-j-t
| 1 2 l + t lI-

S 2
at
4
I

xt?
-# 'r-I-T-
t 4 l 1 4 | 2

f-hunrb posir.i<>n

i t r'*?
r + - - + -
-+-+l

- ?_-=rr--r--r1
t6

a---------
or

(.

i-l\ -=
8-=--.->;;;;E-ljl
;F

;--\ /'--> :-------\

? r b 6 i - - ? t
t 6.r t 6 r t 5 t

l.

2.

AIIegro moderato.., zfi--

------
SiudylV

/-7-

a . a r 0 r i
'Y--f:i-. f+----_
------: \?-i3-
iij., ',6
 2z ul^

4
I
{i?

ilt

- 4

,-'1, -C'
."-- > ii?

-)
---'"

h.
 Allegro\vivo..:.:i_-> '). t-7t
,^. i r ?-G
V
S+udy
h ,t / n
<l
e , i? "

r 4 l i 4 l

4
r!--_
 l9

a--, -:

t z

/--.:> .r^ --\

>
>
' -l
- rQ

,€f{t4-v1# t
E g
....

- .) <;77u1t

I P t | ? 4 ? | t 2 4 t o

ritard.
30

J.

loco
$st

n-g
Zal t 8 Z
fh 2 n Z I

i 4 or
Maestoso
n ^ v ! v
\2 v.2 v: ":.:: i': i
StudyVl
l 1

;-l\ t?\
"\t/
J J, y!---J
h.{
:_=-> 57':; z= ';-: i]-. .z--
\ t

lfe 'i rfrr-?t

f--- 1+- t1

8-1------ ----,'fo
t a )

2lz_21z.4
 t.

m.
l.

ll------^----:--

.. 1 '? 1
6l_o__:"

m.
t.

m.
4.

982
F sharp major scale

Maestoso

StudyVll
4
f*
:-\ 1-;

1 2 4 r 4

'7"t-Tao"ff"
tral
=-..r-fr#:-
' 1 - z a r a f r " 4I 2 +-"tt
,oco

tfirr i I I
l { r ? ;'-ro

{-i6t&€tzi:- ,:::
7 4 2 4 | 2

?
a;>, aa

6 r ? | r I
-f
,--= i}r ---

I t 1 l

P-t4l ?
_ rlan
J+

6-l
n.
b l

r- t L?
I Lz, 2

:l .? I t 3 t
\ . r A

.;-{v;ifrL# #fG
o.
( r l l t ' 3 + ' J
I t ?
'*J:}i
r -, ;i; 13 +--.
? l t ? l d + t 2 1 2 1 + t O l o : ,

p.

1{1,+ 1 z
-. :--\t

?'2r t

r - r']t /:. a- ,'->'t2

€f&. )*:u if*
q-

D> ^-=-'. l:;---.. l]- -:----.

4)a l ro roJ

,/--;> /a: --\ /-1;^\ r-1:^-\ z--::-\ ,'-:;-\ ,1^^-l-. /-|:j--r

t.

,-::i:\ /---:;-\ ,,->,^----\.

,--: -->\ ,-1] -l\ ,-1-^;-\ .-> j---\ i--I7"
 ;J;

"r?i:{'zJ::*
*;i3,'#

t< t+:< ;?1 -<;i"-l{ r,-1

--\ -f\
D,5-r*},Ier . /--) z1;
;>:tt:x>at?

;l\ ,-1:

/'-7

l 0 4 4 r 4 4 l r l r 4 t 1
o o l 4 t l ( l

-----,' -l ---

s.

42

,i . "2u-"; ;:a;; ,j;ttt'Z'l;rgl1 fft ,8i

: . 3
-it

8------
2
I r -ka3D3 z
t ?
'-liEij

? 5r t5t
loco---'-=-\ ----\
:----]--. z,___\r

---\ ----l--'. ------l-=-

a----\
3b

G nraior scale

l.
tt fl 0'3 t 0

2.

z;--\

Maestoso-._ -:--\ Ittt.

'-trFg
S t u d yV l l l
I I
!
.! \

4t3i r

r-t-t? + e ?
tr
+-- +- +-. i-
if ItF-rFiqi tr
r qtfL?-
t- H H H H H*Hi oH,H
-t l-L-t, f----t---t- .tr---

,-T---4 | t, I a | 4 l I ,tl

----\.

;)A p\F\r\
4 t 4 . r 4 1 , I

a^:l\ a-------
 T---------r.
/<-\

I 4
I

.,a fr;-\
cl;f p.)a 'rv
)=--
,:: at '
.r. 'e

4 r i i

4 1 4 t l a t < t + t

<\\ '
--\ -! -r-

,
+- {rt ;: -^.-t ;;- .-rLi i_;-t
t.

'2\< >2 4 ):

? 1 6 l I r r r 6 r r d l r

Hz: * :< ,{ ?2v<,.:

3t]

G minor scale

t. 4 r4\ o 4iO4r0
Zor

2.

Moderato l!!. _rr.

-----
It,. /
_---
StudylX
1 a 4 2

---------.--\
txt )
-
-
i-i-
+ + t
i
6rik

a^t

I a l a

lll '
-'-'--*--\
. ^ \
--------tl' j
-

; ' . 4 i 4

l.--,
.----7))]]
.'-; ,
.'- +

1 4 l ? l l
1 ? l

/.----\ /
a -

I 1 4 z r 4 r A 7 I z t

ifi>;iiia. .i; i;:-- z----=.-,--;-

 -----------;\ ilt
- ^ D - lv

| J 4 4 1 , r ? 4 1
2 1 1 ( ,

.-; u(--i

',T;-i.4".'24 ', r
m?rrla|i1|,,
-> r-\ -* {) l - ;7
Vo^ .+-

-==*-2_-t

;i\ -
-\t lb1 a r -

----T--
' ; - C

F__

lot:o .-

tE t+lt 2

'I'empo
I
lll.
-_ll .

4 2 4 | t 4 2 4 r 4 2 1 . e

fd;;
mt2-

";tI##
.--')',t-)
{lii
2 4 1 1 gffi-4Q]fr*-r_<-
t0
in Chromaiic runs
Exercises

t.

..-t--rT-* *.re-

. f r 0 - r ;

b.

c.
2.

| 2 4 r 2 4

f 4 r t I
6

F
--
t ' . t 3 t ? 4 t I ;

r bl -',, a-- - -- - - - "--- -; ----:'

--+--{--t j.-_44-

l l l t 4 l I 4 0 | | 2 4 | t 4 I ?
4 2 l 4 r t I

o.
'lty

b.
1l

Studiesin scolesond brokenchords

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

(, maior scale

ancl play'ing,legatrt
B c g i r r b r ' 1 ' r r a c t i s i n gs l o w l v a n d r v i t h d e t a c h e d b o w i n g , g r a d u a l l y i n c r e a s i n g t h e t e m p o

C maior triad in thrce part arpeggios large ar1>eggids

Sorall arpeggios

iq{ 'q:"-
i ^

in four Part arpegglos

Sntall arpt

tlzEiz tj
54'o
1'tol

Chorcl of the dominant Seventh in four part arpeggtos N r---------r-----

.-snrallarpc:lgros . 4?- -!.E t?

r--:---] r;--14

fr-l 6;- i-4 -i-,-s*A-?

Melodic A minor scale

A minor triad in three part arpegg*ios

":i" ?tf-:
Small arpeggios arpegglos

.
'lhi,
t,
F nrarkcd I is stopp"d in rlre fourth position with the first finger es a harnronic tone.
 4:J

=_)>.17
r___^
-{-.
1 1 t a l s 4

Harmonic A minor scale

'1--
prfr? l-
?1+
J L + 4 -

Chord of the diminished seventh in four part arpeggios

Small arpegsios , (1 f-:l.-.==--- (l

t^X (i>.'d:-

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

?t
tft

t
l ? 2ar
C T- - - o
? tr

+
I{elodic D Minor

o s s i a4 + l

2 4 t 4

2 r L t
! + ?c + ! t 4
I
FI
5I L
4 2 I 4
; 4
()
tL,if I

I
I
+
J
,-l-)

Harmonic D minor

I ,,\ 4

61
:#nG

B flat major

r--rbd E--=-r

-;rz 4
')
Thi,
€
and this
ffi -""r."a
t
stopped as harmonics with the first finger in the fourrh position
Melodic G Minor
 r-aF) 4#i

E fla. major'

-?

1- +-

Ilelodic C minor

r
f,r+o
 l? tl?t
Harmonic C minor al-1 f-----r

I
1n;]5;a .f;it
+# :J

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

^ +
* t . >>-- |
^+- ^+--
t--1r
+_ irfirr-?t-, r ---__.. --12=
t2

+ -
-' ' . -l . ?- +-,t--{-

f*>--' E:;it t?ij

. Z + r l
Melodic F minor

Harmonic F minor

3.
G major
'---8"
l0
Harmonic E minor IL>F F;:,:--

7rra

D{a:rtGIl

tt*

\felodic B minor
 Harmonic B minor

iG G il '-?:- --
-=f

r{ * re* a--t

i
tt?,-

f;,; ttEe'u

t - €
 ;----;;E#

N{elodic F sharP minor

I
2 l---
+-J +-C I

-,-tLtr';X?
C--C---
I
-1>
--: ----]_ -i- i--! --r-----+--- +-l

?Ef

Harmonic F sharP minor

 r-aE)fift

---:; 1;:r--ar-
" * t

,-1rEnQt2

,rr+-

r-)

t + l
- r 4
 elodic C sharp minor

Harrnonic
C sharp minor

Ir + z'*

:----1r>1lhtP,fG

iiilF)(i>--i[:\.1

lr__--_-_r
MelodicG sharpminor

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

rmonic G sharp minor

9U2
 r__^_r5--E>;*E
-,--4*zT{-

Melodic D sharp minor

._-_"--.a7 '. 2?

F=.J-,7
4 l L .

t -8 l>+T-r
"trF-t
l-t --r

4e{- t]!_t-r-{$[

Harmonic D sharp minor

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

Df*;4>)

C sharp major
 5:
L
5t#

-; ? f-- ----_-]
.-1,}-'1.2

t " 2 +
()
""':r-\

fr"ro

Harmonic A sharp minor

ik-r-"-l-i

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

982
 -r
fl

E X E R C I SI E
NSH A R M O N I C S

Harmonics (or flageolet tones) are clear flute-like tones produced by lightly touching the strings at certain
points, without pressing them down.

The,v are indicated by an o placed above the figure denoting the fingering or merely by the violin clef. In
plal.ing harmonics the bow toucheslightly the strings and approachesthe bridge.

The harmonics most often used are at those points of the string where they may be produced by pressing the
string down.

Thev are mentioned here once again to show they are indicated:

€ a
Notation in
On the G string the violin clef

On the D string

o'
ffi
-u--T--T-
U

I
On the A string
s
6
))
On the E string
ct
9 6
:n
The harmonics indicated in the thumb-position may also be taken in the,,rlower positions,
- this fii|=-
gr-
sounds

also in the 4th position on the G string stopped with the lst finger o. in the 3rd position with the
III &},
, : l
+rh nnger Sp-
#F=
4 - f l

On the D string one can stop this either in the 4th position with the lst or in the 3rd position with
*
the 4th finger.

On the A string one can stop this € either in the 4th position with the lst or in the 3rd position with
the 4th finger.

On the E srring one can stop this ry-s- either in the 4th position with the lst or in the 3rd position with
-t-
,5s 4th finger.

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

g sl III
G

ffi=
_--_----t-
-F
*-
--l-.-

On the G string On the D string On the A string On the E string

 5()

These harmonics are used to ascertain if the instrumenr is tuned perfectly. First the
'A
harmonic a in the 3rd position with the 4th finger on thc D string a"-:- roust be
=t1+-

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

lst 6nger on the A string is in perfect tune with the a of rhe f) string.
5_-
. , - l ' .

If these are both in tune, the other strings are treated in the same manner. Stop the

T
harmonic e with the 4th finger on the A string 1q -
-== antl try' if the same t()ne is obtained
III
s
with the lst 6nger on the E string, i.e
T- III
g
ll.r -
Finallv trv if the harmonic r/ with the 4th 6nger on the G string TE.:--: sounds thc sirrnc

s
Ttt---il-
------r

a s t h e h a r m o n i c r / s t o p p e c l w i t h t h c I s t f i n g c r o n t h e D s rr ring
S=
E xe rci seisn th e above ways of pr oducinghar m onics

l l e g i n b 1 ' p r a c t i s i n g s l o r v l l ' a n d u ' i t h c l e t a c h e c lb o w i n g , g r a c l u a l l y incrcasing thc tenrl)()

and playing legato.

t.

4 0 4 r ,

ul t t
+? e?
F-r
I Ftr'trF
-1+ I .-f
-+ t4J- -.|-'- t-*!
- t f f +
7 e2-
i

-
-i-+-+--

F4-
-
+-i=.#
--
,- r=-J
4 2 o G-41.
etr.
ul
,Ei r 2?t
(r(l

3.

-r:u_
_ r a- -

+
E
 61

ffig2462 (l ) ol t l ]
o
A) o
, 268*66 , d t + 4 2 4 4
4. 'rv.+
It"
C I
fLl1- .l

4rr4 t 4 ? ? ? l 4 l 4 l | 4 4 z 4 l
frt

ff+ 0 t 4 6'.
Iy
,'
E

7 z t t 4 r r 4

D------- -

t|-
:J o-
0 4 o 1 9 4 4 o 2
4 o 2 4
:l 9 t 6 3
5.

r | 4 l l 4 | | o o 4 0 o ( f 4 l o
6-n 0 o 4 4 o P l r l t l

t +
+

\ 4 2 0 4 a o 4
\J :I 4 r t r 4
tv. t e
r
t.

t l 4 l

I C
tt

1 o 2 7 "
o ? :J
a
,

1 t 4 l
(rl

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

6l o t

t.
r---l
L o
r n g r
t.
Tad 6 *3 6 d 6 2 1 4 r

O , 1 t O r 4 2 4
1 r l 1

4 o i r L

o B 4 0 4 6 t 6
2 4 0 2
:l

----.ll

It) ---- --

i + o ' z + 6 2l
"'
f ; - *o gt - q , : 5 8 6 ' 6 a i" t i o o* c 5 : A O A ?
v 8 v
6at 3 46"6
l:,!vi
7. il|.

,. , J4 n,---L L I
- )) *l+

Uo 2 4 |
f f t l rt i r a z t 4 6or+a

;i6 2
E=-A_T-T-0- r o
t { l ( / 3 O 3
s 4 lil
8. u t ? ,
E 1-

E
rt
T-rF I
 63

o 1 t I
I \ J U
4 l o

2 4 0
4 t 4 l
N 4 ; ?

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

: i 6 r l
L '
oZ
o + ' r $

l 4 l r O
o t 4 l $ 6 t o 2

' 3 6 r lfro d l
u
o3 ? d 3 6 ' t 6
{ 4 o + r-;----;----l
lv. ' I l

4 l | 4 l*.+ 3 o t 4 l
4 0
l l
o o
l
4 |
f,tot J a l

D--'--'-rn {t .) !-t

? 6 9 o
7 6 6 I
(J

9. lv
rr' /-_l :) *-{ :r v
Y lv ,--- /7

o 0 o 4 t t 4 l
o ' t t t r 4 l t . r i r
t l
( rI

-vI=j
\ o.a \ refi
r 6 2 | 2 6 ? r $ o l . r
6 3 u -l?;''-4
\ .t].{+ !\tt'.
6 g
tr2
t 4 t 2
x
4 r 4

a-a i=-.. f-l

4
\ n l A z 6
/-t

'iiz-t+ 67 1 I ?
l
?. ? l
? ?
1
. )
l
0
t
o 4 o 4 l
I I t lT.i,

z''+ u-=\- a.
,'-/, a I

I
2 4 C)

/-^ 4--
_L{= tf -- *__$=-
s 4 o 1 4 : l

A 9')-1 ,''2
D_ ,-^ a 1dt

4 ! j t o o ? d
3
t!:
'-u'/-r ..-f- /'->. ./'t

t t 4 t) o ? 6 I
4 I I 2

l) l)
j--\
?\ ^---..

o o 2 A o
8 t 3

J-^ ;----. a t t> fl

f t l 4 l l t 4
 O)

H o r m o n i c isn t h e h i g h e stth u m bp o s i t i o n

By placing the thumb on the point where the lies the other fingers will produce or stop the following
harmonics:

On the G string On the D string

!o a---- flg 'o 3

O ' O : *hg

On the A string On the E string

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

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

II
Position of the hand Position of the hand

.."iq: 0 t r $ 3bg
Sounds in harmonics Sounds in harmonics

On the A string On the E string'

Position of the hand Posirion of the hand

{ r 0 o
? t l

Sounds in harmonics Sounds in harmonics

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

qa7
66
in harmonicsin the second position
Exercises

I ) a

l. -.t'--
4
(; D G -----------
D
+' ,,1
-ff:]f
t 1

, t t : - - l I 1 )

3.
(f ': tt
' 3 i + . ?

l) It: .- ---- , t 2

t,
I I

+.
a
+-

tQ,)

lt\

6. -{'--
0 I
I
 6;

The first position

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

I and in rhort shitrs ro

L

Position of the hand

: 3 2

On the G string

-----{t-- (, -_+----{r-
sounds in harmonics
-- 3- -_2_

and in short shifts to

Position of the hand

On the D string

sounds in harmonics

and in short shifts to

Position of the hand

t,
:l

On the A string i

-{.
sounds in harmonics

and in short shitts ro

Posicion of the hand

( f 0
"t :t
On the E string i r
i !
l t
l '
r i
i t

sounds in harmonics
6B
E x e r c i s ei sn h o r m o n i c isn t h e l s t o n d2 n d p o s i t i o n s
il

t.

( i D Q E

(f--
:l

II
It
d 4)2
(L _ u._.r
t ? o o_ r_ 6_o I l, ._{F
2 4 4 " t 1

D G

2.

(;
? ? 2

-i--u -_o--lT_'-|'-_n
:I T l : i : i ' 3

(] ( i D
1? 1 , ,_ _
2
+-
t-
?
4- ;,
'l- &2
t- 1-
---1-
i-'{-{.__-__t___l

G
tl
 6()

1 D e t!'i'-ri

4 2 4 ? - 1 4 ?

q n G-*; r.t G'--'---;-------------

a-"-'

4.

: t ? 1 3

5.
I

E p' *--- 2'-"-'--;-"--"--a a

9'*--'o.-------
;0

6.
o 9
I t i i 2 1 I
3 i ; i t . t

D A-.-
A

t A & ) a

o---- (t-
4 l

I
G major scale through 4 octaves F'loueolel n D-'"
]i't n Eli
{f---o ._9-.--;-
o o 4 r ? '
4 I ?
'['hunrh
posltl()n

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

D major scale through 4 octaves

J , i 4 : J ? l t

l l I ) a I ) A
 ;l

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

8"
actual sound: etc.

C
---- -r
Notation: etc.

Exercise

b ) with the fourth one obtains the same tone two ocraves higher
a bo
actual sound:

Notation:

Exercise
( i

an octave higher
c ) with the third, one obtains the tenth '-""."'..
I .'.' flo
f<>
actual sound:

Notation:
 Exercise

? t

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

with the fifth with the fourth with the third

Exercise

(
r .(
(
 ARPEGGIO - f

Arpeggio is the namc given to a broken chord, the notes of which are played across two or m()re strings
and melodicalh' bound.

As the arpeggio enables the player to produce a variety'of effects on the string bass, it must be play'ed with
a slight emphasis on the lowest, i.e. the fundanrental tone, to be followed t'ith elan by the higher notes, the
fingers remaining cln rhe 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 fore-arnt.

Exercises
.-=- /-, /;.?_.-?.-?

a z ,T ' i-t ta 7n, )

i. 4 r 4 4 | 4r
'.-; /"7 /' .^ .'-
,--'- .--;- .--T- ,t'C- /-= 4:

2.

1 2

? 2
t_ :r

Various bowings

etc. b. etc. c. etc. d.

- t

ix ,?or-\

v3"

t o 2 4
-;\
--\ ---\ / /;

4 | O I
 r'J

DOU
B L E - S T ON
PGPI

Double stopping rarely occurs on the string bass,yet it is not altogether unimportant to get familiar with it.

In double stopping the chief thing is pure intonation: the fingers must strike the strings simultaneously
and st<,rpthem firmly, the bow also tr>uching both strings simultaneously.

t.

:l

!a e
IJ 15

2.

3.

In double stoppings marked with an *, the is stopped with the 4th 6nger as an exception to the rulc-

982
:6

tt ^l).',)
J'l J<i
t--. 7ll
4.
: "rf E--
-
<:>. <-:> " lt<

t^l |ly)*l-
te a

\ '-----
-=-
Z->_ J'

Nloderato
,.----fr1 I | +t -
ar--\iT] r
f--\l
a .- e ae- e, ._ . 1 ) !| | |
4 ' ajt -)) J-.1 JV
5.

(,
4
I

e'
l---I

I
- -
ti
II I
e -\l
.l J"-r
J
nf -=--
al acceleranLlo

., l----'f:i I I ta I
L - - - t l - - - - l l--.1
n r 't t ! 4
l-\l
2'lla
I I
e
I
2fid ?#! e.- J

Pr"^po I ||p---_
 T W O C O N C E , R TS T I J D I E , S

T TT--1 r r- r-r+
E- - - r - -
_-_-=:- -
f
X

llE' ?r. --'-;pt

-=:,f

=-"f' <-J ===>

.C? |

-f
Un poco meno mosso
l ' l i r s e r r l e-t . -
ai a\} /--

:
l- ' i' i - , -f t : : . .
- +--*- f- : +

) .
a i<-.

==:---

irr* ,..-\ ^
) ) ; \
 ),--.
Uz -l

Un poco stretto
>tt r?>
 79
II.
illoderaro
_ g) n D;ar-:
//!/f --=:=-

-=-\!},;;.-.
I l(io\ ,;

.?it2 =t.
OF'-- t-

_ -_ _

rf:
.----. .rl"2i)'t =i1li .!It 'D;sn
-*

---,--].-: tt- l .l ';,+r;iFErFFi*

r";r+#$'l+ --
, __---.-- ht\,
rtat?tat 7lnt22); lt

f
]f{eno mosso

dolce<i < PI' a.

Tempo I
-----T-:
.lilo?

-/T--- ---\
.liltlF}

.-
f

lttt -r ,---. \--

i-)t rlee \ -tl

-----fl'
ilit D;ar;^l*r\.-- Ia.;>
r1
I r( )) |r

I Andante guasi Recit.

.\ t -
p, \ Adagio, .^.br.
a^\
a: I l.;-. - A-^- J,-
-- T-

i 7r=:-:=

<l)t. TempoJ ----T-:

I*

stretto '---
--.--
lE)c

-==-.}\ -----T-: l-ji. -l-.

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

$
r'ee-}.^ -!t ---:-\-

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

ntolto ritarrl.