viennese bass method - lesson 7 thumb position - letter format

Upload: crepuscular1974

Post on 02-Jun-2018

214 views

Category:

Documents


0 download

TRANSCRIPT

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    1/6

    2

    1

    1

    2

    3

    III II I

    3

    2

    2

    1

    2

    II III

    3

    2

    1

    1

    3

    IV III II I

    3

    1

    1

    2

    3

    I II III IV

    1

    3

    2

    1

    2

    III II I

    2

    1

    2

    3

    1

    II II IV

    1

    3

    2

    1

    IV III II I

    1

    2

    3

    1

    II III IV

    III II I II III

    2

    1

    1

    2

    3

    III II I

    3

    2

    2

    1

    2

    II III

    3

    2

    1

    1

    3

    IV III II I

    (

    )

    3

    1

    1

    2

    3

    I II III IV

    1

    3

    2

    1

    2

    III II I

    2

    1

    2

    3

    1

    II III IV

    38Viennese Bass Method

    Lesson 7. Thumb Positionwww.viennesetuning.com

    Exercise 42. D major scale, Thumb Position

    Exercise 43. D major scale, Thumb Position, with Ottava marking

    Copyright 2009 by Igor Pecevski

    The Thumb position on octave harmonic offers the unique figuration and double stop possibilities that are

    characteristic of the advanced Viennese repertoire. In addition, the period notation of the thumb position

    register uses almost exclusively treble clef in combination with Ottava(one octave higher) markings. In

    the opening two exercises the exact same material is presented with, and without Ottavamarkings, as it is

    very important to learn how to read the treble clef music in the proper register.

    Since most of the material in this lesson is intended for thumb position on the octave harmonic, there was

    no need to clutter the exercises with additional "position" brackets, so these are omitted. Moreover, a

    notable feature of the Viennese thumb technique is a use of all 4 (or 5) strings. In order to use this

    technique most effectively one would need to have an evenly graduated fingerboard in Gamba style.

    However, given the realities of our time, it is understood that players will attempt to accommodate the

    original fingerings in the best way possible on their modern fingerboards too. For the thumb markings

    please consult again the Symbols Notation Map.

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    2/6

    (

    )

    1

    3

    2

    1

    IV III II I

    1

    2

    3

    1

    II III IV

    III II I II III

    1

    3

    2

    1

    2

    IV III II

    2

    1

    2

    3

    1

    III IV

    1

    3

    2

    1

    2

    III II I

    2

    1

    2

    3

    1

    I II III IV

    3

    2

    1

    2

    1

    3

    III II I

    3

    1

    2

    1

    2

    3

    II III IV

    2

    2

    1

    2

    3

    III II I

    3

    2

    2

    2

    2

    II III

    3

    2

    1

    2

    1

    3

    IV III II I

    3

    1

    2

    2

    3

    I II III IV

    1

    3

    2

    2

    2

    III II I

    2

    2

    2

    3

    1

    II III IV

    1

    3

    2

    1

    2

    IV III II

    2

    1

    2

    3

    1

    III IV III IV

    3

    2

    2

    III IV

    2

    2

    1

    2

    III II III II III

    1

    1

    2

    1

    II I II I II

    3

    1

    1

    3

    3

    1

    I

    (

    )

    3

    1

    1

    2

    1

    I II I II

    1

    2

    1

    2

    I II III II III

    2

    3

    1

    3

    II III IV III IV

    3

    III IV III IV III

    3

    Exercise 43. A major scale, Thumb Position

    Exercise 44. Thumb Position String Crossings in D major

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    3/6

    1

    1

    2

    1

    II I II I II

    3

    1

    1

    3

    3

    1

    I

    3

    1

    1

    2

    2

    II I II

    ()

    2

    2

    1

    2

    II I II III II III

    3

    2

    3

    2

    II I II I II

    3

    1

    2

    3

    2

    I II I

    .

    (

    )

    3

    1

    2

    2

    1

    I II I II I III II

    1.

    3

    I II

    2.

    3

    FineII III IV II

    .

    ()

    2

    1

    1

    I II I

    1

    1

    II I II

    1

    3

    1

    2

    1

    III II

    (

    )

    1

    2

    1

    2

    II III II III

    1

    2

    2

    II III II

    2

    2

    III II III

    .

    2

    2

    3

    2

    III II III IV II

    1.

    2

    3

    1

    IV

    2.

    Da CapoIII II I II III

    III IV III II III II I

    3

    3

    II I II I

    II III II III IV III

    1

    1

    1

    1

    2

    III IV III II III II I

    2

    1

    2

    2

    2

    2

    1

    2

    II I II I

    2

    1

    1

    1

    1

    II III II III IV III

    40

    Exercise 46. Thumb Position Arpeggios

    Exercise 45. F# minor - D major, "Da Capo" Etude

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    4/6

    3

    3

    1

    1

    3

    1

    2

    IV III IV III II

    2

    1

    2

    3

    3

    2

    1

    2

    III II I II III II

    2

    1

    3

    1

    1

    3

    3

    III IV III IV

    III IV III II III II I

    3

    3

    II I II I

    3

    II III II III IV

    w

    III

    3

    3

    III II I II I II I II III II I II I II I II

    2

    1

    1

    L

    1

    1

    2

    1

    1

    L

    1

    1

    III II I II IV II I II III II I II IV II I II

    simile

    3

    3

    2

    1

    1

    L

    1

    1

    2

    1

    1

    L

    1

    1

    3

    3

    U

    II I

    simile

    III II I II

    2

    1

    1

    simile

    III II I II

    .

    2

    1

    1

    J

    II

    .

    2

    J

    2

    1

    I II I II I II

    2

    simile

    2

    3

    2

    .

    2

    J

    2

    1

    2

    2

    3

    2

    U

    4

    Exercise 47. Thumb Position Figurations 1. Sperger, "Selene, del tuo fuoco" Aria, excerpt

    Exercise 48. Thumb Position Figurations 2. Sperger, "Selene, del tuo fuoco" Aria, excerpt

    Exercise 49. String Crossings F# minor, Sperger, Concerto No. 18, 3rd Movement, excerpt

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    5/6

    .

    J

    3

    2

    1

    III II I

    1-3

    2

    2

    1

    2

    II III

    2

    3

    3

    2

    2

    2

    II I

    2

    2

    2

    2

    1

    2

    I II I II III

    3

    II III II I II III II I II III II I

    B

    2

    1

    1

    1

    1

    1

    simile

    1

    1

    1

    1

    1

    1

    1

    I III II I II

    L

    simile

    3

    III II I II

    B

    2

    1

    1

    1

    1

    simile

    I III II I II

    L .

    J

    3

    2

    III I

    2

    2

    2

    3

    3

    1

    1

    2

    II III

    1-3

    1

    III

    3

    2

    3

    3

    2

    3

    3

    2

    3

    3

    2

    3

    II I

    3

    I II III I II III II I

    2

    1

    2

    1

    1

    2

    3

    I II III I II III II I

    1

    2

    1-3

    I II III

    3

    I II III I II III II I

    2

    1

    2

    simile

    1

    1

    2

    2

    II III

    1

    2

    1-3

    I II III

    1

    3

    3

    1

    3

    2

    1

    2

    1

    IV III IV III II IV III II III II

    1

    1

    1

    2

    3

    1

    I II I III

    j

    2

    3

    2

    1-3

    I II III

    42

    Exercise 50. Vanhal, Concerto, 1st Movement

  • 8/11/2019 Viennese Bass Method - Lesson 7 Thumb Position - Letter Format

    6/6

    I II III

    .

    1

    IV III

    1-3

    3

    3

    II I II I

    3

    II I III II I II

    1

    2

    1

    simile

    1

    2

    1

    III II I II

    1

    2

    1

    1

    2

    3

    III II I II III II I

    1

    2

    II III

    1-3

    3

    3

    3

    II I II I

    simile

    3

    III II I II

    1

    2

    1

    simile

    1

    2

    1

    III II I II

    1

    2

    1

    1

    2

    3

    III II I

    1

    2

    I II III

    1-3

    J J J

    j

    J

    j

    J

    J

    J

    j

    J

    r

    J J J

    j

    J

    j

    J

    J

    J

    j

    J

    r

    4

    Exercise 51. Vanhal, Concerto, 4th Movement

    Exercise 51. Hoffmeister, Solo Quartet no. 2, 4th Movement

    In this exercise you are welcome to try your own fingerings. This entire section can be performed in a

    single position, however there is also a fingering variant where the opening measure can be performed in

    the lower position. See if you can find both variants and than use the one more comfortable for you.