Playing Technique : Fingering Basics

Fingering basics :

> Introduction
> Lower fingerboard fingerings
> Thumb position fingerings
> Harmonics: placement and fingerings
> Conclusion

> Introduction: The fingering system of the Viennese instrument is in essence a combination of our modern fingering system intended for the instrument tuned in fourths, and a period technique that has evolved around the unique convenience the Viennese tuning and its placement of the harmonics. While the similarities between the two systems may not deserve as much attention, the priority here is to describe instances where the period technique requires of us to modify our "traditional" way of thinking and playing, and emulate approaches that were used by the period performers. Those period approaches and technical elements are the key for mastering the Viennese bass technique, regardless of the fact how strange or unusual those may appear in our time.

When we consider the period fingering technique from out present day perspective, we can observe the several levels of difference pending on the region of fingerboard where the music is to be executed. Thus the specific characteristics particular to every of those regions will be covered separately. According to those differences we can divide the fingering styles in roughly three regions: The lower fingerboard up to the thumb position (position 13 in the fingering charts), The thumb positions above the octave harmonic and The use of harmonics:

> Lower fingerboard fingerings: The fingerings in the lower part of the fingerboard are used in almost identical way as we use them today on our modern instrument. If we disregard the fact that the thirds between the top three strings will necessitate different approach, than everything else is the same. The modern system of 1st, 2nd and 4th finger that spreads between half steps, has been used in the period too, regardless of the fact whether the fingerboard was equipped with the frets or not. What is important to remember here, is that the string length was approximating the modern string length, thus it was equally as difficult to the period players to use the extended positions in the lower register of the instrument, as it is to us today. It would be false to assume that the fingering system was based entirely on the viola da gamba or modern violoncello patterns.

However, this does not mean that the extended positions were not used on some occasions when the tuning and setup of the instrument were convenient for such an execution. The study of period solo compositions has shown, that since at that time there was no established "propriety" of particular system, anything that was possible was probably at some point tried. In that respect the period approach indeed does appear surprisingly modern and open minded.

The points where the fingering technique of the lower positions will differ from our modern at the same register are the following three: the use of the open strings, the barring technique where the several strings are pressed with the same finger at once, and the pivot type extended positions.

Open strings: Due to the very easy response of gut strings, open string was a normal occurrence in the period technique. To the period player an open sting was not an unwelcome occurrence that should be avoided by a performance of the same pitch in position - and preferably with vibrato - as we are taught today. The open string was a normality, particularly in quicker passages where it becomes an integral part of the pattern figurations, whether those be quick arpeggios or repeated occurrences in combination with other pitches on the same or the other string.

Example: Dittersdorf Concerto No. 2, Second Movement, Sperger's Cadenza.

Example: Vanhal Concerto, First Movement.

Barring technique: To the period players it was quite common to press several strings at once, and use this grip for an extended period of time (or as necessary) in the lower positions. While we may consider this technique to possibly fit under the category of double or triple stops, in practice it differed from modern double stops, and is more similar to the viola da gamba practice. A good argument could be introduced here, that such a technique necessitates frets in order for those barred passage to be executed with ease. Yet the practice has confirmed that the frets are not always necessary, since those same barred passages can be executed without any problem on the steel strings too, if an instrument is well set. [see Instrument setup section]

Example: Dittersdorf Concerto No. 2, Second Movement.

Pivot style extended positions: The fingerings that require this technique indeed remind us a lot of the modern Rabbath technique (for those acquainted with it). This period pivot style is showcase of the historic curiosity where the same system of extending the fingers beyond the standard 1,2,4 pattern while keeping the thumb pivoting on the same spot, was used centuries before our time to help the execution of the virtuoso passages in period compositions. Whether some other instruments could showcase the same case, where the period technique has been forgotten, and than rediscovered in our modern time, remains to be seen.

Example: Vanhal Concerto, First Movement.

> Thumb position fingerings: Within the thumb position use, we can already observe a significant differences from the modern technique. One of those important differences, is a use of the thumb position around the octave harmonic, often encountered in the solo works of Hoffmeister, Sperger, Vanhal and Mozart.

In those pieces, when the thumb is placed on the octave harmonic, and the fingers are utilized on all four strings, many of the difficult passages in the middle to high register of writing will suddenly become very easy and convenient to execute. This position is favored so much by the period performers that it is almost inconceivable to think that those same performers did not take part in influencing or advising the process of composition. The presence of such a unique idiomatic writing in so many Viennese compositions is obviously not a coincidence. How exactly that cooperation has been organized and how much of the music material is actually from the Sperger the performer and how much from Vanhal or Hoffmeister the composer, we will probably never know. The only fact that remains is that the pattern writing is recognizable in most Viennese compositions, and as such was obviously well known both to the performers and composers.

Example: Hoffmeister Solo Quartet No. 2, First Movement.

The positions above the octave harmonic follow the normal progression associated with the modern instrument until the region of upper harmonics is reached. Moreover, from the rare instances where Sperger wrote his fingerings we see that the thumb can be used in the upper positions even above the octave harmonic. In some instances even the 1,2,3,4 pattern is noted in the thumb positions. Those fingerings are obviously not synchronized with our modern conservatory "1,2,3 only" teaching, indicating that the only proper fingerings are those that suite the convenience of the performer.

> Harmonics: placement and fingerings: The fingerings of the harmonics are the most advanced part of the Viennese technique, and indeed present us with several technical and fingering challenges that are alien to our present day technique. Only those bassists, who master the period technique of performance on harmonics, will be able to access the entire solo literature written for the Viennese bass. Otherwise, this literature - although playable in the alternative octave lower register - will not sound true to the intentions of period performers and composers.

The Viennese tuning offers a unique possibility to afford a performance of the entire scales, phrases and double stops in harmonics. The difference between this system and Bottesini's own (where harmonics are also used extensively and with great artistic taste) lies in a very peculiar "reverse shift" technique. The reverse shift is a procedure where one shifts from the upper string to the lower in order to go from lower pitch to the higher. This is highly uncommon on modern bass where a "climb" to the higher register is always associated with the shift form the lower to the higher position OR the switch from the lower to the higher string. This hierarchy so common and ingrained in the style of a modern bassist, that is has to be "unlearned" in order for the effective performance of harmonics to be executed in the Viennese style.

The greatest paradox of this reverse shift is that most Sperger's writing requires it, and so does the proper execution of the Vanhal concerto and Hoffmeister quartets (coincidentally also written for, or in association with Sperger).

Example: Hoffmeister Solo Quartet No. 2, First Movement.

Please note - Harmonics are not indicated in the original score.

Conclusion: As it may be apparent now to the bassists who have never tried the Viennese system, the implementation and adoption of all the fingering patterns presented here will require time and patience. Thus unfortunately, all who are interested to learn the Viennese system should be aware that there is no easy way to approach this literature. For those who wish to explore the extensive legacy of the Viennese literature, the above mentioned procedures are the key on how to perfect the period technique and do justice the mastery of the period performers. Everything else unfortunately, will be an adjustment and compromise, leading again to the misunderstandings and lukewarm responses from the critics and audiences alike.

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Last update:  June 3, 2009

Posted:          May 17, 2009