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In this lesson we will cover the A major scale fingering options over the two octave ambitus. Since the Viennese tuning setup contains two A strings (the low and the high), this lesson will cover the entire usable range between them and up to the octave harmonic on the high A string.
The two octave ambitus is common to the most orchestra, chamber and early solo repertoire. Many of the fingering patterns introduced in this lesson will also be recognized later in the period compositions, and are actually designed to facilitate the study of the same. The thorough study of these scales and arpeggios is a necessary step in building the solid foundation for the further technical development, in spite the fact that the repetitiveness of material may not be so attractive.
The more interesting part is the section with the real musical examples, which also offers the opportunity for the bassists to explore and apply their own fingerings. I believe that a development of a personal fingering system is important in Viennese technique and should be fostered very early. The ability to plan and execute typical Viennese melodic patterns on your own is a prerequisite to being able to perform on the Viennese bass equally as good as on the modern one. The thorough study and effort invested in this stage will indeed pay heftier later, when one reaches the level required of the solo literature.
This is also the last lesson where we will cover all three clefs simultaneously, given that the tenor clef is not used much beyond the octave harmonic range.
| Lesson 3. Scales: A Major pdf - Letter format |
| Lesson 3. Scales: A Major pdf - A4 format |
Posted: June 22, 2009