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54
Viennese Bass Method
Lesson 10. Thumb Position: Arpeggios on Harmonics
www.viennesetuning.com
Exercise 69. Thumb Position, D major Arpeggios.
Exercise 70. Thumb Position range, A major Arpeggios.
Copyright 2009 by Igor Pecevski
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.
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 music. All the notes, treble clef and Ottava markings are
presented here exactly as they appear in the extant manuscripts.
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Exercise 71. Thumb Position, F#minor Arpeggios.
Exercise 72 Entire range, D major Arpeggios.
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Exercise 73 Entire range, A major Arpeggios.
Exercise 74 Entire range, F#minor Arpeggios.
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57
Exercise 75. Hoffmeister, Solo Quartet no. 2, 1st Movement
Exercise 76. Hoffmeister, Solo Quartet no. 4, 2nd Movement, Trio
Exercise 77. Sperger, Concerto No. 11, 1st Movement
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Exercise 77. Sperger, Concerto No. 11, 1st Movement
Exercise 78. Sperger, Concerto No. 11, 2nd Movement
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Exercise 79. Sperger, Concerto No. 11, 3rd Movement
Exercise 80. Sperger, Concerto No. 18, 1st Movement
Exercise 81. Sperger, Concerto No. 13, 1st Movement
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Exercise 82. Sperger, Concerto No. 18, 2nd Movement
Exercise 83. Sperger, Concerto No. 13, 1st Movement
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Exercise 84. Vanhal, Concerto, 3rd Movement
Exercise 85. Sperger, Concerto No. 11, 1st Movement - Sight-reading: Fill in your fingerings

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