viennese bass method - lesson 11 thumb position double stops on harmonics - letter format
TRANSCRIPT
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3
IIIII
III
1oo2
2oo3
21
IIIII I
IIIIIII
21
3
12
21
III
IIIII
2
IIIIV
3
IIIII
III
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1oo2
2oo3
32
IIIII
III
1oo2 2
oo3 2oo3 1
oo2 2oo3 2
3
IIIII
III
IIIII
III
23
1o2oIIIII
23oo simile III
12oo
32
IIIII
III
& ##()21oo simile
IIIII
32
32oo
III
21
Loco
21
IIIII
3
3
12
III
IIIII
21
..2
JIIIIV
IIIII
4LLL4L
III
III
62 Viennese Bass Method Lesson 11. Thumb Position: Double Stops on Harmonics
www.viennesetuning.com
Exercise 86. Thumb Position: Double Stops on HarmonicsBased on Sperger, Concerto No. 17, 2nd Movement
Copyright 2009 by Igor Pecevski
The solo Viennese music features the double stop figurations on harmonics in far greater variety than the modern bass repertoire. Their use is not limited only to the top two strings but can span all four in various double, triple and even quadruple stop combinations. These are often performed within the same position and related to the triadic convenience, although in some instances their position arrangements may appear unexpectedly creative and daunting. This is the reason why the first exercise covers the entire fingerboard range and offers a complete harmonic stops pitch reference.
Within the Viennese system the harmonics can also be performed on the upper and lower parts of the fingerboard as on the modern bass (above and bellow the octave harmonic). This fact was well known to the period bassists and in certain pieces the exact location of harmonics can easily be deduced from the location of common pitches that follow them. In the case of Dittersdorf concerti, it is obvious that harmonic figurations are intended for the lower part of fingerboard in the region of 5th and 7th position. The same approach can be found in the Hoffmeister concerto harmonics excerpt presented here (Flautino marking is the equivalent of 8va marking).
The remaining examples are based on the advanced Sperger technique and will require a bit of patience at first. It will be of help if one is well familiar with previous lessons before attempting this one.
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Flautino5th Position7th Position
1o 1o
1o 1o 1o o o oIII II I II I
wo .1o 1o 1o
1o 1o 1o o o oIII II III II I
wo 11oo 1
1oo 11oo
III
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1oo 11oo
III
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1oo III
IIIII I
II
Loco
1
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2 1 4 2 III II
2 1 4 1 2 1 4
1
I II III
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III II I
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21oo
III III
II
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32oo
21oo
III
IIIII
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R3o 2o 3o 3o 2oI II I II
1 2o 2o 3o 1I III
2o32oo
32oo j
32oo
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3o
3o3o
3o
III
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I
3o 2o 3o 1 1
1
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21
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63Exercise 87. Hoffmeister, Concerto no. 1, 1st Movement
Exercise 88. Sperger, Solo Quartet C III-23, 1st Movement
Exercise 89. Sperger, Concerto No. 13, 2nd Movement
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23oo
3o
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2 2 2 2o R
2o
III II I
2o 2o 2o 1o
3o 2o R1o
III II III I II III
2 2 2
2o R2o
III II I
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2o 2o 2o 1o 3o 2o 1o R
Loco
III II III I II III I
3
12
12
III
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64Exercise 90. Sperger, Solo Quartet C III-23, 2nd Movement
Exercise 91. Sperger, Concerto No. 17, 2nd Movement, Sight-reading sample