Simandl Plus

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Copyright 2003 American School of Double Bass, Inc. All rights reserved.


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Simandl-PlusFingering Strategies

* Also called extension, 4-finger, or Franke system fingerings.** Simandl (1-2-4) hand position.

2000-2004 BA S S O PR O F N D O/MA R K MO R T O N . AL L R I G H T S RE S E R V E D .

Melodic Gestures and Rhythm

1 Have at least two notes per position. (Rests and open strings count as a note.) This strategycan be abandoned in lyrical playing, especially in thumb position.

2a When a melodic gesture (a series of pitches before it changes direction) ends on a stable beat (oron a stable subdivision of the beat), it is almost always best to shift on a mobile beat (or on amobile subdivision of the beat).

2b When a melodic gesture ends on a mobile beat, (or on a mobile subdivision of the beat), it isalmost always best to shift on a stable beat, (or on a stable subdivision of the beat).

Because almost all melodic gestures end on a stable beat or on a stable subdivision of the beat (in classical music,at least), it is almost always best to shift on a mobile beat, or on a mobile subdivision of the beat.

Money Notes and Lower Numbered Fingers3) Use lower numbered fingers (1 & 2) when possible, especially in lyrical playing.

4) Use the second finger for money notes. Though the second finger is preferable, the first fingercan be used on money notes as well. (See Function of each of the fingers.)

It usually works well with lyrical playing in thumb position to use the second finger (or thefirst) for everynote.

String Crossings

5) Avoid using the same finger across two strings, even with perfect fourths (especially in lyricalplaying.) Exception: When alternating back and forth across two strings.

6) Avoid playing two (or more) open strings in a row.7) In scalar passages, play at least two notes on a string before crossing to a new string. (A rest

counts as a note.)

8) If practical, choose a fingering that allows a string crossing on adjacent strings, rather than onethat requires skipping a string.

Tempo

9a) In lyrical playing, avoid open strings and open hand* fingerings, opting for more shifts.

9b) In fast playing, use more efficient fingerings: use less shifts, and when you doshift, travel theshortest distance possible; use open strings, and open hand* fingerings.

10) You may use an open string only if the note is shorter than a beat, and if the open string does notcreate an unnecessary string crossing. (Also, see Fingering Strategy 6.) However, in moderatelyslow or slow tempi, a note may best be played closed instead of with an open string, even if it isshorter than a beat.


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Simandl-PlusFingering Strategies

* Also called extension, 4-finger, or Franke system fingerings.** Simandl (1-2-4) hand position.

2000-2004 BA S S O PR O F N D O/MA R K MO R T O N . AL L R I G H T S RE S E R V E D .

Triangulation of Fingering Systems

11) You can use the closed hand** fingering for almost all slow to moderately fast passages in theneck register.

12) Use open hand* fingering system only in: a) extremelyfast passages; b) when you want a passage(of any speed) to be clean (free of portamanti); c) when a passage hovers around a third; and d)to reverse the stable beat/mobile beat arrangement of shifts.

13) Use thumb position in, of course, the thumb position register. But, you may also use thethumb below the first octave harmonic.

Transitional Fingers

14) In the closed hand** fingering system, use the third finger rather than the fourth finger higherthan a two ledger-line E on the G-string (and on the same fret for all other strings). Notes on

the E fret may be played with either the third or the fourth finger.15) Use the second finger rather than the third finger higher than a treble clef top space E on the G-

string (and on the same fret for all other strings). Notes onthis E fret may be played witheither the second or the third finger.

Fingering Notation Suggestions:

(All fingering notations appearoverthe notes. Alternate fingerings may appear belowthe notes.)

1) Indicate a fingering number only for a note that requires a shift.

2) If it is helpful to indicate a fingering for a note that does not require a shift (reminderfingerings), enclose that fingering in parentheses.

3) String indications should be notated with a letter (G, D, A, or E, notroman numerals) over thefingering number.

4) Indicate all open strings with an o.

5) Indicate open hand** fingerings by placing a bracket over the fingering and the notes that arecontained in that position. Ex.: 1

6) To bridge one finger across two strings when playing a perfect fourth (or minor seventhsacross three strings, or minor tenths across four strings), indicate the finger number followed bytwo parallel lines over the notes that require the bridging fingering. Ex.: 2

7) When playing a perfect fourth across two strings (or minor sevenths or minor tenths) with two

different fingers, but not shifting (guitar style), draw two parallel lines between both fingeringnumbers. Ex.: 128) When playing a perfect fourth across two strings (or minor sevenths or minor tenths) with the

same finger, (not bridging nor playing with two different fingers in one position) indicate bothfingerings within parentheses and without the parallel lines.Ex.: (2 2)


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Simandl-PlusWorkbook

Preface

The double bass has an enormous string length resulting in a much wider distancebetween the intervals then with the other stringed instruments. Consequently, the problem of

fingering is much more pronounced with the double bass than with the other stringed instruments.I have found that most student bassists (and many professionals!) struggle to devise fingeringsthat are not only technically sound, but also musically effective. A shortcoming in this importantfundamental should not impair the realization of artistic vision!

Devising excellent fingerings for the double bass is a lot like solving a puzzle. The

Simandl-Plus Fingering Strategies and Notation Suggestions presented in this workbook shouldarm you with the knowledge, practice, and skill in solving this fascinating and rewarding puzzle.

Simandl-Plusopens up our playing field and allows us to play offensively rather than

defensively. For example: You will soon discover that Simandl-Plusfingerings will frequentlyhave you shift before you run out of fingers. So you choose when and where to shift to provide

the greatest technical and musical advantage - you wont always shift just when you are simplyforced to shift. Better still Simandl-Plusprevents you from running out of fingers before youhave run out of notes. In this way, you are in control of the music and your technique, not the

other way around.Music is not an exact science, so I cannot guarantee that these Strategies will work for

everymusical situation. There are too many possible variables to establish a relatively concise setof guidelines for all circumstances. However, I willguarantee that these Strategies will work for

at least 90% of situations, and that the fewer Strategies you choose to abandon (or areforcedtoabandon) in any specific situation, the more comfortable any given passage will be to play. Ifthere is a situation in the music where you have to abandon one or more Strategies, you will know

before you play a note, where the difficulties are and what they will be. You can then apply extraeffort on those situations to overcome those challenges.

Simandl-Plus

fingerings are ergonomic; they take into consideration what each of the lefthand fingers do best, not just the vertical geometry of the location of the notes on the length of thestrings. (It also acknowledges the geometry of the location of the notes horizontally acrossthe

strings.) Best of all, your playing will be more satisfying artistically, aesthetically, and musically -the ultimate goal as a musician on any instrument. Simandl-Plushelps your music emerge

because the fingerings often correspond to the phrasing andprosody the implied musicalwords. Additionally, these Strategies and Suggestions will provide a consistent approach to

playing, sightreading, improvising, and notating fingerings.

Simandl-Pluswill likely seem foreign to you, so here is a mind shift I could suggestthat might help you along:

You are probably accustomed to playing diatonic scalar passages (scales made up ofwhole-steps and half-steps) with three notes on each string. Because our instrument is tuned

(usually) in perfect fourths, after playing three diatonic notes on one string, the next note isavailable on the adjacent string, so you play it on that next string, starting a new set of three notes,and so on.

However, I would recommend playing some multiple of twonotes per string (usually twoor four) before advancing to the next adjacent string. This approach works when not playing openstrings, which with Simandl-Plus, is the rule, and not the exception. Most tonal music isconstructed with diatonic scales. In regular Simandl hand position (1-2-4 - what I call closedhand) our hand can span only two diatonic pitches. So, playing in closed hand which we do

for the majority of the time is essentially a binary (two-part) system. Simandl-Plusembracesthis truism of the binary nature of the span of our left hand, thus these fingerings tend to have


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two notes per position, shift every other note, and have two or four notes per string in scalarpassages.

This workbook presupposes a thorough knowledge of the grid of the location of thenotes up to the first octave harmonic on all the strings. And at least some ease in shifting to any

where on that grid. If you dont already feel secure in shifting, studying this workbook andplaying the musical examples will go a long way towards acquiring that skill.

The fifteen Simandl-PlusFingering Strategies and eight Notation Suggestions do notnecessarily appear in numerical order, some Strategies or Suggestions will appear more thanonce. In the workbook, the Strategies and Suggestions are presented in the best order for learning

them. In the list of Strategies, they are arranged and grouped according to the parameters theyaddress.

This workbook is intended to be done away from the instrumentat a desk or on a musicstand. Like solving a crossword puzzle, the only two tools you need are a pencil and your mind.Only after you have figured out the fingering for any given excerpt, should you play it to see how

it feels and sounds. And I do recommend playing all the excerpts after solving the puzzle. Afterall, this workbook is ultimately about playing the bass!

What you have downloaded is really only the first 14 pages of a 57-page workbook. Thecomplete workbook was intended to be taught in a face-to-face environment. With me there, I cananswer the many good questions that come up, explain the reason behind the strategies, and to

guide bassists to make sure that they dont stray to far away from the intent of these exercises andexamples. So there is a great risk of misunderstanding with the environment in which you are

embarking on exploring these Strategies and Suggestions. Short of my being there with you, Ihave included a key to the answers for all the exercises to help guide you at the end of thisworkbook. If you have any questions, are interested in the remainder of the workbook, or would

like to join us at one of the American School of Double Bass Summer Retreats or WeekendWoodshed Clinics, please feel free to telephone me at 614/232-BASS or e-mail at

[email protected].

There are four icons that appear in this workbook:

indicates the presentation of a Fingering Strategy.

indicates the presentation of a Notation Suggestion.

indicates an example of a good fingering. indicates an example of a bad fingering.

This workbook is dedicated to Stuart Sankey and David Walter two giants of double

bass pedagogy whose recent passing has left an enormous gap in teaching, performance, and

music composition and editing for the bass. Stuart Sankey was the first to alert me to theimportance of a well-conceived fingering and the clear notation of that fingering. David Walter,my teacher at Juilliard, showed me the advantages to shifting every other note, the most importantand fundamental concept of this workbook.

Good luck with this little adventure, and I hope this opens up an entirely new way atlooking at not only playing the bass, but more importantly, how to interpret and play musicas

well.

Dr. Mark Morton


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-5- 2000-2004, Basso Profndo/Mark Morton.All rights reserved.

F Major Scale

Notation Suggestion #1: Indicate a fingering number only for a note

that requires a shift.

IMPORTANT!: PLEASE READ THE PREFACE BEFORE DOING THIS WORKBOOK

Exercise 1. Circle the fingerings that require a shift (including the first note).

J.S. Bach: Brandenburg Concerto No. 4, Movt. 3

J-A Lorenziti: Gavotte


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?bc

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Exercise 2. Now, write above the notes only the fingerings that require a shift.(Write in the numbers you circled in the previous examples, including the first note

F Major Scale

J.S. Bach: Brandenburg Concerto No. 4, Movt. 3

J-A Lorenziti: Gavotte


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Notation Suggestion #4: Indicate all open strings with an "o".

Exercise 3. Go back to the previous three examples (following Exercise 2)and write an "o" over every open string. (You don't have to put an "o" over a low E.

Notation Suggestion #2: If it helpful to indicate a fingering for a note that

does not require a shift ("reminder fingerings") enclose that fingering

in parenthesis.

Exercise 4. Play the examples following Exercise 2 - if there is any notethat you are not sure of the fingering, write in the fingering numberand enclose that number in parenthesis.

Notation Suggestion #3: String indications should be notated with a letter(G, D, A, or E, notRoman numerals) over the fingering number.

Exercise 5. Again, play the examples following Exercise 2 - if there is any notethat you are not sure which string to play it on, place a string letter name(G, D, A, or E, notRoman numerals) overthe fingering number.

In the examples following Exercise 1 and Exercise 2, which is easier to read?Which is easier to play?

Simandl-Plusnotations havefewernumbers, but tell you moreinformation!


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? ##43Allegro non troppo

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2000-2004, Basso Profndo/Mark Morton.All rights reserved.

Fingering Strategy #1: Have at least two notes per position.

(Rests and open strings count as a note.)

Exercise 6. Circle any fingering that has only one note in a position(in other words, isn't "linked" to another note, open string, or rest).

I call such notes "orphans." "Orphans" are easy to see because there will be two fingering numbers right in a row.

J. Brahms: Symphony No. 2, Movt. 1

W.A. Mozart: Symphony No. 41, Movt. 1

A. Capuzzi (pronounced "Kuhpootsee"): Concerto for Double Bass, Movt. 1


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?c 42 84

?C 88 164 c

?Cw.Molto Allegro

fw. w. w.


Fingering Strategies #2a & 2b:

2a) When a melodic gesture (a series of pitches before it changes direction)

ends on a stable beat, (or on a stable subdivision of the beat),

it is almost always best to shift on a mobile beat,

(or on a mobile subdivision of the beat).

2b) When a melodic gesture ends on a mobile beat,

(or on a mobile subdivision of the beat),

it is almost always best to shift on a stable beat,

(or on a stable subdivision of the beat).

A "stable" beat (usually called a "strong" beat) is an odd-numbered beat (1, 3, 5, etc.)A "mobile" beat (usually called a "weak" beat) is an even-numbered beat (2, 4, 6, etc.)

Exercise 7. Put a "S" over the notes that fall on the stable beats,

and put a "M" over the notes that fall on the mobile beats in the following example

W.A. Mozart: Symphony No. 41, 4th Movt.

When we say shift "on" (or if you prefer, "to") any given note, beat, or subdivision of the beat,

we are referring to the destinationnote, not the originationnote.

Fingering Strategies 1 and 2a & 2b comprise the "heart" of the Simandl-Plusapproach.

These strategies give you a quick and easy tool for calculating two crucial bits of informa1) if a series of ascending or descending notes has an even or odd number of notes in it,

and 2) on which note to shift at the begining of the series to establish the shifting

every other note pattern. You will end up shifting on the second to the last note beforethe series of notes turns around and goes the other direction. This way, you will haveexactly the right number of fingers for the right number of notes.


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# n

-10-


A "stable" subdivision of the beat are the notes that fall on the odd-numbered(the 1st, 3rd, 5th, etc.) subdivisions of the beat in any rhythmic value shorter than a beat.

A "mobile" subdivision of the beat are the notes that fall on the even-numbered(the 2nd, 4th, 6th, etc.) subdivisions of the beat in any rhythmic value shorter than a beat.

A melodic gesture is defined as a series of pitches traveling in one direction

before it changes direction. The following are examples of melodic gestures:

Exercise 8. Put a "S" over the notes (not the rests) that fall on stable subdivisionsof the beat, and put a "M" over the notes (not the rests)

that fall on the mobile subdivisions of the beat in the following examples.

The following example has the melodic gestures bracketed. Stepwise diatonic motion

is enclosed with a solid bracket. Chromatic motion or apreggiation (leaps of 3 or more notis enclosed with dotted brackets. Rules 2a & 2b will almost always work with stepwise dimotion. These rules will frequently work with chromaticisms and arpeggiations,but not always. Notice how the last note of one melodic gesture can also be the first note

of the next melodic gesture. (conjunct)

J. Brahms: Variations on a Theme of Haydn, Var. III


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?b b b b b42 . . . .

?b b b b bn . b .

?b b b b b42 . . . .

?b b b b bn

.

b .

?b b b b b4

2 .1G

4

1

4

1

4

1 2

1 .

4

.1 4

1 . 4 1

(1)

?b b b b bno 2 4 . b4 1 4 1 4 .1 4 1 4


Exercise 9. In the first version of the three versions of each of the following excerpenclose the stepwise diatonic melodic gestures with a solid bracket. If you would lialso enclose the chromatic and arpeggiated melodic gestures with a dotted bracket.

Deck the Halls

"Traditional style" fingering:


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?42

Allegro giocoso

#.

# # #> #> # . # # # # # #

?dim.

# # # # # # n # # # p

?42Allegro giocoso

#.

# # #> #> # . # # # # # #

?dim.

# # # # # # n # # # p

?42Allegro giocoso

#.

1 # 4 # 4 #> #> # .1 #4 # 4 # 4

G

#1 # 4 #1G

?dim.

# 4 # 1 # 4 # 1 # #4

o

n # o

# # p


J. Brahms: Symphony No. 4, Movt. 3



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?c .

Sehr gehalten

f

.

j

? # .

?# # #

?# # - #- # n # n # # w

?c .

Sehr gehalten

f

. j

? # .


R. Wagner: Prelude toDie Meistersinger


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?# # #

?# # - #- # n # n # # w

?c .Sehr gehalten

f

2

o

o o

. jo

o

4

?1 o # 1 o o o .

2

4 1

o

o

?# o o

o

o

# 4

2

#

?

o

# #

o

- #-

o

#1

n

o

# n

o

#4 o # o 2 w

4




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?bc

.

p

Allegro moderato

- . - n .

?b

. - . - # n J

?bc .

p

Allegro moderato

- . - n .

?b . - . - #

n J

?bc .

p

Allegro moderato

1 - .1 -3 4 4 4 4 2 n .1 1

?b.1 - .2 -o

+ # 4 1 o

3

1G 1 4

n1G J -15-


A. Capuzzi: Concerto for Double Bass, Movt. 1



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?b b b b4

2 .

p

Andante con motoe

n .n . .

n .n . .

n . .

J

?b b b b .n

fn .. .n .b . .n .n . .n n . .n j

?b b b b42 .

p

Andante con motoe

n .n . .

n .n . .

n . . J

?b b b b .nf

n .. .n .b . .n .n . .n n . .n j

?b b b b42 .

p

Andante con motoe1

n .no

.o

.

n .n

o

. 4

.

1

n

o

. .o

Jo

?b b b b .n

fno . .

o .no .b o .o

.n .no

.o .n n

o

. .no j

4 -16-


W.A. Mozart: Symphony No. 39, Movt. 2



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?83

Allegro

p

cresc.

?

f

J J . .

?83

Allegro

p

cresc.

?

f

J

J . .

?83

Allegro1

p4 1 4 3

o 4 4 4 4 1 4 4 1

cresc.

1 1 1 1 1 1

?21 2 3

o

1 o+

f

4 4 1 J4

J .1 4 .


B. Marcello: Sonata No.3, Movt. 4



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Exercise 10. In the first version of the examples following Exercise 9,

over the final note of each melodic gesture:- Write an "S" if the melodic gesture ends on a stable beat or a stablesubdivision of the beat.- Write a "M" if the melodic gesture ends on a mobile beat or a mobilesubdivision of the beat.

Fingering Strategy #10: You may use an open string if the noteis shorter than a beat, and if it does not create an unnecessary string crossing.

However, in moderately slow or slow tempi, a note may best be played closed

instead of with an open string, even if it is shorter than a beat.

Notation Suggestion #4: Indicate all open strings with an "o".

Exercise 11. In the first version of the examples following Exercise 9, place an "o"over every note that may be played as an open string. Take into considerationthe tempo. In the end, you might not choose to play all these notes open,

especially if they create an unnecessary string crossing.

Exercise 12. Now, in the first version of the examples following Exercise 9, place afingering over only the notes that require a shift. Choose which notes to shift onbased on whether the melodic gesture ends on a stable or mobile beat,

or on a stable or mobile subdivision of the beat. (Fingering Strategies 2a & b)

Here is the good news: Because almost all melodic gestures end on a stable beat, or on a stable subdivision of the beat (in classical music, at least), it is almost

always best to shift on a mobile beat, or on a mobile subdivision of the beat.

Exercise 13. Of course we don't ordinarily put all these markings in the music, so wonlyyour fingerings in the second version of the examples following Exercise 9.

Then, play your fingerings for the examples following Exercise 9.

Exercise 14. Play the "Traditional style" fingerings found in the thirdversion of the examples following Exercise 9.

Which is easier? Which sounds better? Why?

Exercise 15. Go back to the examples following Exercise 6 and correct the fingerin

taking into consideration all the Simandl-PlusFingering Strategies (1, 2a & b, and and Notation Suggestions (1, 2, 3, and 4) you have learned so far.Which is easier to play? Which sounds better?

These are only the first 14 pages of a total of 57 in the complete workbook!On the following pages is a key to help you along... If you have any questions, feelfree to call or e-mail at: 614/232-BASS or [email protected].

Or, better still, come join us for our Summer Retreat or a Weekend Woodshed Clini


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?bc1

4

o

1

4

o

1 2 o 1 2 1 4

1

2

2

1

4

1 2 1 o 2 1 o 4

1

o

4

1

? #CPresto

1

f

4

1

1

o

4

1

1

o 4D 12 14 1 2 1 4 1 n 2

1

o

2

1

o 4 # 2 1 o

2

1

o

2

o

? #CCommodo

4

Fo

1

G

o 1 1

o 2 o 1 1 4 2 3 o

4 1 4 .1 .4

? #2

1

2

Fo

1G

o

1

1

o2

o 1

2o

o+

3

o+

& 3

2

1

+

3

1

2

1

2

?

?bc

1

1 1 1 4 2

4

? #CPresto

1

f

1

4

1

4 2

4 2 4 n 2 4 1


KEY


The following is only one "solution" to each of the "puzzles." This is one of the strengths of Simandl-Plus: its flex

Often, there is more than one way to finger a given passage, even when following all the applicable Strategies.

This key hopefully will guide you and help prevent you from straying too far afield from the Simandl-Plusapproa

Exercise 1. Circle the fingerings that require a shift (including the first note).


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Commodo

4

F

1

G

1

1 2 4 4 . .

4

? #2

F

1G

1

1

2o

3 & 3 3

2 ?

?bc1

o

o

1

o

1

1

4

2

o

o

4

o

? #CPresto

1

f

1

4

1

o4 2

4 2 4 n 2 o

o 4 #1

o

o

? #CCommodo

4

Fo

1

G

o 1 o o

1 2 o4 4 . .

4

? #2

F

o 1G

o1

o

o 1 2

o

3

&

3

3

2

?


Exercise 3. Go back to the previous three examples (following Exercise 2)and write an "o" over every open string. (You don't have to put an "o" over a low E.


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?bc1

o

o

1 o (2)1

1

(2)

4

2

o o 4 (1)

o

? #CPresto

1

f

(4)

1

4

(1)

1

o4 2 4 2 4 n 2

o

o 4 #(2)1 o

o

? #C

Commodo

4

Fo

1

G

o 1 o o

1 2 o4 (1) 4 . .

4

? #2

F

(2)

o

1G

o

1

o

o 1

2o

3

& 3

(1)

3

2

?

?bc1

o

o

1 o (2)1

1

(2)

4

2G

o o 4

(1)

o


(The answers for this exercise are entirely at your discretion. Here are some possibilties:)

Exercise 5. Again, Play the examples following Exercise 2 - if there is any notethat you are not sure which string to play it on, place a string letter name(G, D, A, or E, notRoman numerals) overthe fingering number.

(The answers for this exercise are entirely at your discretion. Here are some possibilties:)



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Presto

1

f

(4)

1

4

(1)

1

o4D2

4 2 4 n 2 o

o 4 (2)1

o

o

? #Commodo

4

Fo

1

G

o 1 o o

1 2 o4 (1)4

G

. .4 2

F

(2)

o 1G

o

? #1 o o 1 2

o

3 & 3

(1)

3

2

?

? ##43Allegro non troppo

1D

pif

4 n 1 4 n 2 1 o #

1 4 #1 4 # 1 4n

4 1

?cAllegro vivace

of

b4 .o b ..o ...4 b 1 b b

4 .1 ....o n . 4 b

4 .1 .# ..o .1 .

?4

b

b4

.1

b.1

o

b .o

...4

.2

. 1

b 4

.1

.o

1

b4

.1

b .1

.o

. b ..o

b


Exercise 6. Circle any fingering that has only one note in a position(in other words, isn't "linked" to another note, open string, or rest).


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?bc

Allegro moderato

1

F

-

-1A

4 1 1 1 2 ..4G

.1G

. -4

-1A

4 1

?b1 1 2 - - -4 - n-1 -

4 1 -4 -

3 4

?b. . .

- #1 .1 . .- 1 4 1

3

n4D 3

4 4

3

4 1

3

o

?c 42 84S M S M S M S M S M

?C 88 164 cS M S M S M S M S M S MS M S M S M

?Cw.

Molto Allegro

fS

w.M w.S

w.M


Exercise 7. Put a "S" over the notes that fall on the stable beats,and put an "M" over the notes that fall on the mobile beats in the following exampl


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?43

c

S

M

S

M

S

M

S

M

S

M

S

M

S

M

S

M

S

M

S

M

M

S

M

M

S

M

?42 CS M S M S M S M M S M S M S M S M S M M

?23 CS M S M S M M S S M S M M S

JM S M

?b b b b b42 . . . .

?b b b b bn . .

?42

Allegro giocoso

#.

# # #> #> # . # # # # # #

?dim.

# # # # # # # # # p


Exercise 9. In the first version of the three versions of each of the following excerpenclose the stepwise diatonic melodic gestures with a solid bracket. If you would likalso enclose the chromatic and arpeggiated melodic gestures with a dotted bracket.

Exercise 8. Put a "S" over the notes (not the rests) that fall on stable subdivisionsof the beat, and put a "M" over the notes (not the rests)that fall on the mobile subdivisions of the beat in the following examples.


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Sehr gehalten

f

. j

? # .

? #

? # # # # ? - #- # # n # #

w

?bc .

p

Allegro moderato

- . - n .

?b

. - . - # n J



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p

Andante con motoe

n .n . .

n .n . .

n . . J

?b b b b .nf

n . . .n . . .n .n . .n n . .n j

?83Allegro

p

cresc.

?

f

J J . .

?b b b b b4

2 .

S

S

S

.S

M

S

. S

. S

?b b b b bn

S S .

S

S . S


Exercise 10. In the first version of the examples following Exercise 9,

over the final note of each melodic gesture:- Write an "S" if the melodic gesture ends on a stable beat or a stable

subdivision of the beat.- Write a "M" if the melodic gesture ends on a mobile beat or a mobilesubdivision of the beat.


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Allegro giocoso

#.

# # #>S

#>M # . # # # # #S #M

?dim.

#M # M # #M

# #M

M

# M

# #M

p

?c .

Sehr gehalten

f

M .

S

j

S

? # S S S .

S S

?#S S

S #

S

#S

?S

# # S

- #- # S

# S

n # S #

S wS

?bc

.

p

Allegro moderato

- . -S

M nM . M

S

?b

. - . - # S M n J

S



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p

Andante con motoe

nM

.n M

.M .

n

M

. nM

.M .

n

M

.M

.M J

S

?b b b b .nf

nM

.M

.M

.n M .M .M

.nM

.n M

.M .n nM

.M

.n M j

?83Allegro

p

S M

SM S

M S Mcresc.

S M S S M

?S S M S S

f

S

S M J J . .S

?b b b b b42 .

S

S

S .

S

M

S . S

. S

?b b b b bno

S S .

S

S

.

S


Exercise 11. In the first version of the examples following Exercise 9, place an "o"over every note that may be played as an open string. Take into considerationthe tempo. In the end, you might not choose to play all these notes open,especially if they create an unnecessary string crossing.


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Allegro giocoso

#.

# # #>S

#>M # . # # # # #S #M

dim.

#M

?# M # #M # #M

M

# M

# #M

p

?c .

Sehr gehalten

f

M

.

S

j

o

o

S

?o # S S

o S .

S o

S o

?#S

S

o

S #

S

#

S

?So

# # o

S

- #-o #

S

o #

S

no # So # o

S wS

?bc .

p

Allegro moderato

- . -S

M n

M

.

M

S

?b

. - . - # S M n J

S

-29-



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p

Andante con motoe

nMo

.n M

.Mo .

n

M

o

. nMo

.M .

n

M

o

.M

.M J

S

?b b b b .nf

nMo .M .

M

.n M .Mo

.M .nM

.n M

.Mo

.n nMo

.M

.n M j

?83

Allegro

p

S M

SM S

M S Mcresc.

S M S S M

?S S M S S

f

S S M J J . .S

?b b b b b42 .4

2 4 S

1A

S 1

1D

S 1D

.S

4

M

S .

1D

2 S 1D

. 1 S 1D

?b b b b bno

1

S

4

D

S

. 2

4

S

1A

S

1

4D

. 2

4

S


Exercise 12. Now, in the first version of the examples following Exercise 9, placea fingering over only the notes that require a shift. Choose which notes to shift onbased on whether the melodic gesture ends on a stable or a mobile beat,

or on a stable or mobile subdivision of the beat. (Fingering Strategies 2a & b)


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Allegro giocoso

#.

2

# 3G

#3D

#>S

#>M3(

# .3) # 3G

# 4G

# 4D

# 4 #S #M

dim.

1

D

#M

?# 1D

M # 1 #M #1 #M

1

M

#1

M

#1

#M

p

?c .

Sehr gehalten

f

1

4

M 2 4

.

S

j

o

1

o

S

1

?1 # 1D S 4 S

o 1 1 S .

4 S 1

o

S o

?#S1

4 2

4

1

S

2

o

S #

1

S

2

#

S

1

?S

#1

# o

S

- #-o #

1

S

o #

S

no #2 S # o 1

S 1 wS

?b .p

Allegro moderato

1 -1

. -1

S

2

4 M

2

4

2 nM . 1

M

S

?b.1 -

1 . -1 # 1 S 3 4 M 3

o

D n 1G

JS

-31-



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p

Andante con motoe

1

nMo

.n4

M

.2A

M4

A

.1

n

M

o

. nMo

.M4 .

1

n

M

o

.M

.4 M4 J

S

?b b b b .n

f

1

nMo .

M .4 M2 .n

4

M .4 M .

4D

M 4 .

2

nM

.n4

M

.2A

M4A .n

1

nMo

.M

.n4

M4 j

?83Allegro

p1 2

S

1 M2 S3 4

M1 S 2 4

M1 S 4 2

M

1

cresc.1 S

1 M4

S 1 S 1 M4

?S 2 S 1 M

2

S 1 S 1 1

f

S 3 4 2 S M J4

J .1 1 .S

?b b b b b42 .4 2 4 1

A 1 1D 1

D . 4 .1D

2 1D . 1 1

D

?b b b b b

no 1 4D . 2

4

1A

1 4D . 2

4


Exercise 13. Of course we don't ordinarily put all these markings in the music, so wonlyyour fingerings in the second version of the examples following Exercise 9.

Then, play your fingerings for the examples following Exercise 9.


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Allegro giocoso

#.

2

# 3G

#3D

#> #>3( # .3) # 3

G

# 4G

# 4D

#4 # #

?dim.

1

D

# #1D

#1

# #1

# 1 #

1

#1

# p

?c .

Sehr gehalten

f1

4

2

4

. jo

1

o

1

?1 # 1D 4 o 1 1 .

4

1

o

o

?# 1 4 2

4

1

2

o

#

1

2

#

1

?#1

# o

- #-o #1

o # no # 2 # o 1 1 w

?bc .

p

Allegro moderato

1 -1 . -1 2 4 2 4

2

n . 1

?b

.1 -1 . -1 # 1 3 4 3

o

D n1G J -33-



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p

Andante con motoe

1

no

.n4

.2

A

4

A

.1

no

. no

. 4 .1

no

. .4 4 J

?b b b b .nf

1

no . .4 2 .n4 .4 .4D

4 .2 n .n4

.2A

4A

.n 1 no

. .n4 4 j

?83Allegro

p

1 2 S

1 2 3 4 1 2 4 1 4 2 1 cresc.

1 1 4 1 1 4

?2 1 2 1 1 1

f3 4 2 J

4

J .1 1 .

? # #43Allegro non troppo

1pif

A n 2 2 n D 4 2 2 # 4 1 # 1D #2 1 n 1

?cAllegro vivace

of

b4

.o

b ..o ..1 . b 1 b b 4

..2 ...o n . 4

b4D

..2 # ...2D

.

?1 b4D b .b.

4 b ..2 ..4 ..2D

b 4 .. 4 b.b ..o . b ..

o b -34-


Exercise 15. Go back to the examples following Exercise 6 and correct the fingeringstaking into consideration all the Simandl-PlusFingering Strategies (1, 2a & b, and 10)and Notation Suggestions (1, 2, 3, and 4) you have learned so far.Which is easier to play? Which sounds better?


38/38

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-200

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Allegro moderato

1

F-

-1A

2

4 1 .2(

.2)D

.2D

.A -

-1A

2

4

?b 1 - -4 - -2 n- -

2 4 - -2

3 4

?b

. . .- #1 . .1

D .- 1 4 23

n 1 3

2 4

3

2 3

o

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