Playing Technique : Instrument Setup

Instrument setup:

> Size of the Instrument 
> String Length
> String Height
> The Choice of Strings
> Other general adjustments
> Instant tuning (?)
> Conclusion

Once you made a decision to try the Viennese tuning, your next step will be to set the instrument with different strings and arrange other possible adjustments. This section is here to help you realize this setup and explain all the issues that it may involve. The setups described in the following paragraphs are intended for the regular present-day basses and people who are just beginning to explore the tuning.

> Size of the Instrument: Regardless of the purpose for which you would wish to set the instrument (chamber or solo performance) the instrument should be of a smaller size - in some circles this type is referred as a "chamber bass". Naturally, your own bass (or one of them) will probably be the candidate, but if you have a choice - choose a smaller one. Although it is possible, it is not advisable to set a vintage broad-shouldered big Italian instruments to this tuning, as in many respects they are the antithesis of the Viennese sound practice and concept.

> String Length: The string length should be circa 103-104 cm or 40.1/2 - 41 inch for solo setup. While it is possible to set instruments with even higher string length, it may be more difficult to execute the bravura high solo passages on them. Using longer string lengths for chamber and orchestra music should not be problematic.

> String Height: Regardless of the solo or chamber-orchestra intended use, the string height setup is of the highest importance. The reason for this remark lies in the very Viennese technique which contains within itself an elements of the gamba technique. Do not be afraid of this comparison, as indeed it is not such a leap in general adjustment of your present technique. However, whether you wish to experience this cross influence or not, the period system will start to infiltrate in your playing once you start using the tuning - and to make the transition more painless or even possible at all: The Strings need to be set Low!

Think of the setup neither as a gamba nor as a Wagner's "Valkyrie" orchestra setup, but something in between that is quite similar to the modern solo bass setup. As a rule of thumb, at the end of fingerboard the distance between the string and the fingerboard should approach 5-7 mm. or 1/4 inch. This measure should afford a desired degree of left hand comfort given the proper trimming of the fingerboard. Avoid the buzz in the strings if possible, and trim the fingerboard if this is within your ability. Once you set the strings itself, try pressing the top two strings at once with a first finger in first position (1,1), and than in the fifth position (1,1). Repeat the same procedure but now with the top three strings (1,1,1). Then try double and triple stops but with simultaneously pressed different fingers (like on guitar if you wish). Use 2,4 or 1,2 for double stops and 1,2,4 for triple stops.

How does it feel? Good welcome to the Viennese technique! I hope it is clear now why the strings need to be set low. 

The practical consideration is how to achive this string height. If you wish to achieve as good a recreation of the original period setup than having a custom made bridge to fit the string distance requirement will need to be done. If you are less inclined to follow all the period conventions, than the height adjustable bridge will serve its purpose. The height adjustable bridge can afford a degree of flexibility in setting the string height for future too.

> The Choice of Strings: This is probably the crucial paragraph in this section. The focus here will be on the general concepts, rather than the direct advice on particular string brands, since those can change through the time.

When selecting the strings the main point of concern is to match the pitches of the Viennese tuning with the existing bass strings offered on the market. If you find an exact match for the pitch - than that string can be used; but if you do not, than choose a string approximation that can be tuned DOWN to the desired pitch. Avoid tuning up, as this increases both the string tension and the string pressure on the front plate. The first is not good for your fingers, the second for your bass.

1. Steel Strings: Presented here are the tables which feature the common steels string selections for both the solo, and the chamber-orchestra Viennese setups:

4 String Solo D and Eb setup:
This setup will enable you to perform all the solo Viennese literature both in D and E flat keys by simply retuning the instrument for a half step up or down, when a different setup is needed. There is no need for any concern in regard to the well being of your instrument and its front plate, as the real string pressure is actually lower than of the common solo tuning in either setup.
String order:	4th	3rd	2nd	1st (top)
Existing strings:	Solo B (3rd str. solo tuning)	Solo E (2nd str. solo tuning)	Solo A (1st str. solo tuning)	High solo C
Procedure:	tune down to:	tune down to:	tune down to:	tune down to:
Setup in Eb:	Bb	Eb	G	B flat
Procedure:	tune down to:	tune down to:	tune down to:	tune down to:
Setup in D:	A	D	F#	A
Comments:	I have used this setup since 2003, and you can hear it on all the music samples presented in this web site. There were no side effects to either instrument or strings, as the total pressure on the instrument is always lower of that originally designed. The extra benefit of having a lower pressure is also a lower tension on the strings which is welcomed in all the passages that require double and triple stops, along with a barring technique. This setup also allows all the benefits the frets would offer on the gut string setup. The perceived lack of projection that one could associate with a lowered pitches, has not been noticed in practice. Should you have an option, choosing a "middle" or " low" tension variant of the modern steel strings would be preferable.

4 String Chamber and Orchestra D setup:
This setup is preferred for the orchestra and chamber music. It is closer in the feel to the regular steel string equipped orchestra instrument, and the tension on the strings will be higher than on the previously cited solo setup. The cumulative tension however will not exceed that of the standard orchestra setup. Barring may be more difficult on this setup.
String order:	4th	3rd	2nd	1st (top)
Existing strings:	A string (3rd str. orch. tuning)	D string (2nd str. orch tuning)	G string (1st str. orc. tuning)	solo A string
Procedure:	tune the same as the orchestra string	tune the same as the orchestra string	tune down to:	tune the same as solo string
Setup in D:	A	D	F#	A
Comment:	I have used this setup since 1990. There was also no side effects to either the instrument or the strings, as the total string pressure approximates that of the regular orchestra setup. Due to the different gauge of strings the barring technique and double stops may be more difficult (but not impossible) on this setup. Miloslav Gajdos also uses this setup.

2. Gut Strings: Any combination of strings that can offer an approximation of the original Viennese pitches will be adequate. Some companies offer actual purpose-made Viennese tuning gut strings. Pending on your budget that may be the best option. David Sinclair and Tobias Glöckler have specialized on the gut strings and fretted instruments, and can offer valuable advice on the subject. Their names and contact information are listed in the Contemporary performers section. Also a valuable networking and information source on gut strings can be found on the Wiener Stimmung blog of the GEBA web site (in German however).

> Other general adjustments: The original bridges on the period Viennese basses were of a less pronounced arch and smaller height. This was due to the general setup of period instruments where the period neck and fingerboard were more parallel to the body than is the case today. Most period instruments that survive today have been altered sometime during the 19th century and have received the new more angeled necks as well as the new fingerboard of a different graduation, along with a new bass bar in order to support an increased string pressure. Thus even if one had an original 18th century period instrument, this instrument in its present-day state would be a modernized type adjusted for the modern orchestra use. The new bridge, sound post, tailpiece and of course the strings would be understood too.

In order to recreate the original instrument from the modernized one, a player would need to reverse all those adjustments according to some original instrument, and in most cases that is unpractical and even historically impossible, given that we do not have a 100 percent preserved unaltered Viennese bass in its original setup. The following paragraphs will present only the minimal adjustments that concern the bride and sound post that may be of a benefit when setting a common present-day bass to the Viennese tuning.

Instant tuning: Lastly a word about the "instant" setup for performers who would like to experience the Viennese tuning without even changing a single string on their bass! This is possible too, and the way to do this is by simply tuning down the two top strings of the orchestra bass. This tuning setup will not be practical for any real performance. However, it will offer the interval setup of a genuine Viennese setup, and the possibility to experiment and accustom yourself with the original string crossings and fingerings. The sound will be an exact fourth lower than the D setup.

Here is how it is done:

4 String Instant tuning (for practice purpose only!):
This setup is possible on any standard instrument tuned in fourths, whether it be in the orchestra or the solo tuning.
Existing strings:	E string (4th string)	A string  (3rd str.)	D string (2nd str.)	G string (1st. str.)
Procedure:	do not retune	do not retune	tune half a step down to:	tune a minor third down to:
Instant V. Tuning:	E	A	C#	E
Imagine:	A	D	F#	A
Comment:	Now you have a Viennese tuning in A major, which is exactly a fourth lower than the true D setup in D major. If you imagine that this combination actually sounds as A,D,F#,A pattern, you will be able to perform the same music intended for the true Viennese setups. This can work fine, unless you are endowed with a perfect pitch. The experience will not be as inspiring as the original setup because the pitches will be low, and the response of strings somewhat discouraging. Yet if you get some practice on this "instant" setup, later you will be surprised how bright, powerful and convenient can the real setup be.

> Conclusion: The final setup of the real Viennese tuning (D or Eb variant) will almost by default result in the following differences to your orchestra setup. You will experience right a way that the projection of your instrument has significantly increased - more than when you had your solo strings on. You will notice that the instrument suddenly sounds far brighter than ever before. Lastly, you will feel and hear sudden ringing and note sustaining ability that your instrument did not have before. This acoustical improvement comes from the two A strings which produce sympathetic vibrations on the instrument - a type of acoustical amplifier.

All those conveniences were at the disposal of period players and have served them as a benefit and inspiration. By and large, the period setup and our present-day recreation efforts should serve the same purpose of effortlessness and ease that have permeated period practice too. No one was then and neither should be today, inclined to work any harder on the improperly set instrument than necessary. If you had a bad experience with a setup of your initial high school instrument, than possibly a proper setup of the Viennese bass could help you have yet another fresh start to a new journey of rediscovering our rich legacy.

What follows is the section on the notation. This is also one of the most difficult and discouraging aspects of original Viennese performance style. When you master the period notation, a new world will indeed open to you!

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Posted:        April 12, 2009