Viennese Bass Method - Lesson 10.

Lesson 10. - Thumb Position: Arpeggios on Harmonics

This lesson presents the arpeggio-harmonic style technique that is peculiar to the Viennese bass and not transferable to the modern instrument. It is based on the unique instrument's convenience to produce an extended spectrum of harmonics and the Viennese triadic tuning benefit. When combined, these two offer an extraordinary palette of pitches from which a variety of scale and arpeggio figurations can be formed.

The initial arpeggio exercises will gradually introduce harmonics that reach in to the highest registers on the common keys of A, D major and F sharp minor. These exercises are designed to cover all pitch options - including some that may not have been used in the period but are presented for didactic purpose to demonstrate a variety of options and accustom student to the period way of thinking.

The modern bassist schooled in the traditional solo literature will by common sense try to find a solution by exploring the top string first, yet often the best fingering solution will be found on the lower string harmonics at the unusually high positions. Thus when approaching the period literature it is advised to be well familiar with the harmonic options on all strings before attempting to settle the fingerings.

All the harmonics in this lesson are notated with small circles, yet these markings are completely absent in the period literature. Thus, when facing the original literature one should be able to recognize harmonics among the unmarked notes and use them when available. You are advised to take as much time as you need in order to get familiar with harmonic on all strings because this skill is essential prerequisite for approaching the period solo music.

As you will notice, the materials presented in this lesson will differ significantly form the modern bass technique. However, in spite the fact that this technique and its notation may seem unusual to us today, everything presented here - including the notes high above the staff system, the treble clef and the Ottava markings - appear exactly as in the preserved manuscripts.

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Posted:          October 19, 2009