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Simandl-Plus
Fingering Strategies
* Also called extension, 4-finger, or Franke system fingerings.
** Simandl (1-2-4) hand position.
2000-2004 BASSO PROFNDO/ MARK MORTON. ALL RI GHTS RESERVED.
Melodic Gestures and Rhythm
1 Have at least two notes per position. (Rests and open strings count as a note.) This strategy
can 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 (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).
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 Fingers
3) 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 finger
can 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 the
first) for every note.
String Crossings
5) Avoid using the same finger across two strings, even with perfect fourths (especially in lyrical
playing.) 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 one
that 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 do shift, travel the
shortest 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 not
create an unnecessary string crossing. (Also, see Fingering Strategy 6.) 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.
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Simandl-Plus
Fingering Strategies
* Also called extension, 4-finger, or Franke system fingerings.
** Simandl (1-2-4) hand position.
2000-2004 BASSO PROFNDO/ MARK MORTON. ALL RI GHTS RESERVED.
Triangulation of Fingering Systems
11) You can use the closed hand** fingering for almost all slow to moderately fast passages in the
neck register.
12) Use open hand* fingering system only in: a) extremely fast 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 the
thumb below the first octave harmonic.
Transitional Fingers
14) In the closed hand** fingering system, use the third finger rather than the fourth finger higher
than 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 on this E fret may be played with
either the second or the third finger.
Fingering Notation Suggestions:
(All fingering notations appear over the notes. Alternate fingerings may appear below the 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 (reminder
fingerings), enclose that fingering in parentheses.
3) String indications should be notated with a letter (G, D, A, or E, not roman numerals) over the
fingering 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 are
contained in that position. Ex.: 1
6) To bridge one finger across two strings when playing a perfect fourth (or minor sevenths
across three strings, or minor tenths across four strings), indicate the finger number followed by
two 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 fingering
numbers. Ex.: 1 2
8) 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 both
fingerings within parentheses and without the parallel lines.
Ex.: (2 2)
Simandl-Plus Workbook
Preface
The double bass has an enormous string length resulting in a much wider distance
between 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 fingerings
that are not only technically sound, but also musically effective. A shortcoming in this important
fundamental 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 should
arm you with the knowledge, practice, and skill in solving this fascinating and rewarding puzzle.
Simandl-Plus opens up our playing field and allows us to play offensively rather than
defensively. For example: You will soon discover that Simandl-Plus fingerings will frequently
have 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 simply
forced to shift. Better still Simandl-Plus prevents you from running out of fingers before you
have 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
every musical situation. There are too many possible variables to establish a relatively concise set
of guidelines for all circumstances. However, I will guarantee that these Strategies will work for
at least 90% of situations, and that the fewer Strategies you choose to abandon (or are forced to
abandon) in any specific situation, the more comfortable any given passage will be to play. If
there 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 extra
effort on those situations to overcome those challenges.
Simandl-Plus fingerings are ergonomic; they take into consideration what each of the left
hand fingers do best, not just the vertical geometry of the location of the notes on the length of the
strings. (It also acknowledges the geometry of the location of the notes horizontally across the
strings.) Best of all, your playing will be more satisfying artistically, aesthetically, and musically -
the ultimate goal as a musician on any instrument. Simandl-Plus helps your music emerge
because the fingerings often correspond to the phrasing and prosody the implied musical
words. Additionally, these Strategies and Suggestions will provide a consistent approach to
playing, sightreading, improvising, and notating fingerings.
Simandl-Plus will likely seem foreign to you, so here is a mind shift I could suggest
that might help you along:
You are probably accustomed to playing diatonic scalar passages (scales made up of
whole-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 is
available 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 two notes per string (usually two
or four) before advancing to the next adjacent string. This approach works when not playing open
strings, which with Simandl-Plus, is the rule, and not the exception. Most tonal music is
constructed with diatonic scales. In regular Simandl hand position (1-2-4 - what I call closed
hand) 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-Plus embraces
this truism of the binary nature of the span of our left hand, thus these fingerings tend to have
two notes per position, shift every other note, and have two or four notes per string in scalar
passages.
This workbook presupposes a thorough knowledge of the grid of the location of the
notes 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 and
playing the musical examples will go a long way towards acquiring that skill.
The fifteen Simandl-Plus Fingering Strategies and eight Notation Suggestions do not
necessarily appear in numerical order, some Strategies or Suggestions will appear more than
once. 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 they
address.
This workbook is intended to be done away from the instrument at a desk or on a music
stand. 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. After
all, this workbook is ultimately about playing the bass!
What you have downloaded is really only the first 14 pages of a 57-page workbook. The
complete workbook was intended to be taught in a face-to-face environment. With me there, I can
answer 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 and
examples. 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, I
have included a key to the answers for all the exercises to help guide you at the end of this
workbook. 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 Weekend
Woodshed Clinics, please feel free to telephone me at 614/232-BASS or e-mail at
info@asodb.com.
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 the
importance 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 important
and fundamental concept of this workbook.
Good luck with this little adventure, and I hope this opens up an entirely new way at
looking at not only playing the bass, but more importantly, how to interpret and play music as
well.
Dr. Mark Morton
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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.
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 note
that you are not sure of the fingering, write in the fingering number
and enclose that number in parenthesis.
Notation Suggestion #3: String indications should be notated with a letter
(G, D, A, or E, not Roman numerals) over the fingering number.
Exercise 5. Again, play the examples following Exercise 2 - if there is any note
that you are not sure which string to play it on, place a string letter name
(G, D, A, or E, not Roman numerals) over the fingering number.
In the examples following Exercise 1 and Exercise 2, which is easier to read?
Which is easier to play?
Simandl-Plus notations have fewer numbers, but tell you more information!
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Allegro 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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Molto Allegro
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 examples.
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 destination note, not the origination note.
Fingering Strategies 1 and 2a & 2b comprise the "heart" of the Simandl-Plus approach.
These strategies give you a quick and easy tool for calculating two crucial bits of information:
1) 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 before
the series of notes turns around and goes the other direction. This way, you will have
exactly the right number of fingers for the right number of notes.
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Con moto
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 subdivisions
of 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 notes)
is enclosed with dotted brackets. Rules 2a & 2b will almost always work with stepwise diatonic
motion. 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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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
Exercise 9. In the first version of the three versions of each of the following excerpts,
enclose the stepwise diatonic melodic gestures with a solid bracket. If you would like,
also enclose the chromatic and arpeggiated melodic gestures with a dotted bracket.
Deck the Halls
"Traditional style" fingering:
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Allegro giocoso
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Allegro giocoso
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Allegro giocoso
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
J. Brahms: Symphony No. 4, Movt. 3
"Traditional style" fingering:
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
R. Wagner: Prelude to Die Meistersinger
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2000-2004, Basso Profndo/Mark Morton. All rights reserved.
"Traditional style" fingering:
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Allegro moderato
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Allegro moderato
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G
J
-15-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
A. Capuzzi: Concerto for Double Bass, Movt. 1
"Traditional style" fingering:
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto e
n
.
n
.
n
.
n
.
n
.
?
b
b
b
b
. n
f
n
.
.
n
. b
.
.
n
.
n
.
.
n
n
.
.
n
?
b
b
b
b
4
2
.
p
Andante con moto e
n
.
n
.
n
.
n
.
n
.
?
b
b
b
b
. n
f
n
.
.
n
. b
.
.
n
.
n
.
.
n
n
.
.
n
?
b
b
b
b
4
2
.
p
Andante con moto e
1
n
.
n
o
.
o
n
.
n
o
.
1
n
o
.
.
o
o
?
b
b
b
b
. n
f
n
o
.
.
o
.
n
o
. b
o
.
o
.
n
.
n
o
.
o
.
n
n
o
.
.
n
o
4
-16-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
W.A. Mozart: Symphony No. 39, Movt. 2
"Traditional style" fingering:
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
8
3
Allegro
p
cresc.
?
f
?
8
3
Allegro
p
cresc.
?
f
J
?
8
3
Allegro
1
p
1
4
3
o
cresc.
1
1
1
1
1
1
?
2
1
2
3
o
1
o
+
f
4
1
J
4
J
4
.
-17-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
B. Marcello: Sonata No.3, Movt. 4
"Traditional style" fingering:
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
-18-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 mobile
subdivision of the beat.
Fingering Strategy #10: You may use an open string if the note
is 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 consideration
the 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 a
fingering over only the notes that require a shift. Choose which notes to shift on
based 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 write
only your 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 third
version 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 fingerings
taking into consideration all the Simandl-Plus Fingering 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?
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, feel
free to call or e-mail at: 614/232-BASS or info@asodb.com.
Or, better still, come join us for our Summer Retreat or a Weekend Woodshed Clinic!
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
c
1
1
? #
C
Presto
1
f
o
4
D
1
4
1
n
2
4
#
2
o
? #
C
Commodo
4
F
o
1
G
o
1
o
2
o
1
o
4
.
1
.
4
? #
2
2
F
1
G
o
1
o
2
o
1
2
o
o
+
o
+
&
3
?
?
b
c
1
1
4
? #
C
Presto
1
f
n
2
-19-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
KEY
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.)
The following is only one "solution" to each of the "puzzles." This is one of the strengths of Simandl-Plus: its flexibility.
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-Plus approach.
Exercise 1. Circle the fingerings that require a shift (including the first note).
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
? #
C
Commodo
4
F
1
G
.
.
4
? #
2
1
G
2
o
3
&
3
?
?
b
c
1
1
4
? #
C
Presto
1
f
o
4
n
2
4
#
1
? #
C
Commodo
4
F
o
1
G
o
1
o
o
1
o
4
.
.
4
? #
2
o
1
G
o
1
o
o
1
2
o
3
&
3
?
-20-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
c
1
(2)
(2)
(1)
? #
C
Presto
1
f
(4)
(1)
o
4
n
2
4
#
(2)
? #
C
Commodo
4
F
o
1
G
o
1
o
o
1
o
4
(1)
.
.
4
? #
2
F
(2)
o
1
G
o
1
o
o
1
2
o
3
&
3
(1)
?
?
b
c
1
(2)
(2)
2
G
(1)
-21-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
(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 note
that you are not sure which string to play it on, place a string letter name
(G, D, A, or E, not Roman numerals) over the fingering number.
(The answers for this exercise are entirely at your discretion. Here are some possibilties:)
Exercise 4. 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.)
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
? #
C
Presto
1
f
(4)
(1)
o
4
D
n
2
(2)
? #
Commodo
4
F
o
1
G
o
1
o
o
1
o
4
(1)
4
G
.
.
4
F
(2)
o
1
G
o
? #
1
o
o
1
2
o
3
&
3
(1)
?
? #
#
4
3
Allegro non troppo
1
D
pif
4
n
1
4
n
2
#
1
#
1
4
#
1
4 n
4
1
?
c
Allegro vivace
o
f
b
4
.
o
b
.
.
o
.
.
.
4
b
1
.
1
.
.
.
.
o
n
.
.
1
.
#
.
.
o
.
1
.
?
4
b
4
1
b
.
o
b
.
o
.
.
.
4
.
2
.
1
b
4
.
1
.
o
1
b
4
.
1
b
.
1
.
o
.
b
.
.
o
b
-22-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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).
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
c
Allegro moderato
1
F
-
-
1
A
.
.
4
G
.
1
G
.
-
4
-
1
A
1
?
b
1
-
-
-
4
-
n
-
1
-
4
-
4
4
?
b
.
.
.
-
#
1
.
1
.
.
-
1
4
1
3
n
4
D
1
3
?
c
4
2
8
4
M
?
C
8
8
16
4
c
S
M
?
C
w
.
Molto Allegro
f
S
w
.
M
w
.
S
w
.
M
-23-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 examples.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
4
3
c
S
M
M
M
M
M
?
4
2
C
S
M
M
?
2
3
C
S
M
M
S
S
M
S
M
M
S
J
?
b
b
b
b
b
4
2
.
?
b
b
b
b
b
n
.
?
4
2
Allegro giocoso
#
#
#
#
>
#
>
#
.
#
#
#
#
#
#
?
dim.
#
#
#
#
#
#
#
#
#
p
-24-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
Exercise 9. In the first version of the three versions of each of the following excerpts,
enclose the stepwise diatonic melodic gestures with a solid bracket. If you would like,
also 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 subdivisions
of 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.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
c
.
Sehr gehalten
f
.
j
?
#
.
?
#
?
#
#
#
#
?
-
#
-
#
#
n
#
#
w
?
b
c
.
p
Allegro moderato
-
.
-
n
.
?
b
.
-
.
-
#
n
J
-25-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto
e
n
.
n
.
n
.
n
.
n
.
?
b
b
b
b
. n
f
n
.
.
n
.
.
.
n
.
n
.
.
n
n
.
.
n
?
8
3
Allegro
p
cresc.
?
f
?
b
b
b
b
b
4
2
.
S
.
?
b
b
b
b
b
n
S
S
.
S
-26-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 mobile
subdivision of the beat.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
4
2
Allegro giocoso
#
#
#
#
>
S
#
>
M
#
.
#
#
#
#
#
S
#
M
?
dim.
#
M
#
M
#
#
M
#
#
M
M
#
M
#
#
M
p
?
c
.
Sehr gehalten
f
.
S
j
?
#
S
S
.
? #
S
#
S
#
S
?
S
#
#
S
-
#
-
#
S
#
S
n
#
S
#
S
w
S
?
b
c
.
p
Allegro moderato
-
.
-
S
M
n
M
.
?
b
.
-
.
-
#
S
M
n
J
S
-27-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto
e
n
M
.
n
M
.
M
n
M
.
n
M
.
n
M
.
M
.
M
S
?
b
b
b
b
. n
f
n
M
.
M
.
M
.
n
M
.
M
.
.
n
M
.
n
M
.
M
.
n
n
M
.
M
.
n
M
?
8
3
Allegro
p
S
S
M
S
M
M
cresc.
M
?
S
f
S
M
J
S
?
b
b
b
b
b
4
2
.
S
.
?
b
b
b
b
b
n
o
S
.
S
-28-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
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 consideration
the tempo. In the end, you might not choose to play all these notes open,
especially if they create an unnecessary string crossing.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
4
2
Allegro giocoso
#
#
#
#
>
S
#
>
M
#
.
#
#
#
#
#
S
#
M
dim.
#
M
?
#
M
#
#
M
#
#
M
M
#
M
#
#
M
p
?
c
.
Sehr gehalten
f
.
S
j
?
o
#
S
S
.
? #
S
#
S
#
S
?
S
o
#
#
o
-
#
-
o
#
S
o
#
S
n
o
#
S
o
#
o
S
w
S
?
b
c
.
p
Allegro moderato
-
.
-
S
M
n
M
.
?
b
.
-
.
-
#
S
M
n
J
S
-29-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto
e
n
M
o
.
n
M
.
M
o
n
M
o
.
n
M
o
.
n
M
o
.
M
.
M
S
?
b
b
b
b
. n
f
n
M
o
.
M
.
M
.
n
M
.
M
o
.
.
n
M
.
n
M
.
M
o
.
n
n
M
o
.
M
.
n
M
?
8
3
Allegro
p
S
S
M
S
M
M
cresc.
M
?
S
f
S
M
J
S
?
b
b
b
b
b
4
2
.
1
A
1
D
1
D
.
S
.
1
D
1
D
.
1
D
?
b
b
b
b
b
n
o
4
D
S
.
1
A
1
4
D
.
S
-30-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
Exercise 12. Now, in the first version of the examples following Exercise 9, place
a fingering over only the notes that require a shift. Choose which notes to shift on
based 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)
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
4
2
Allegro giocoso
#
2
#
3
G
#
3
D
#
>
S
#
>
M
3 (
#
.
3)
#
3
G
#
4
G
#
4
D
#
4
#
S
#
M
dim.
1
D
#
M
?
#
1
D
M
#
1
#
M
#
1
#
M
M
#
1
M
#
1
#
M
p
?
c
.
Sehr gehalten
f
1
4
.
S
j
1
?
1
#
1
D
S
.
? #
S
1
#
1
2
#
S
1
?
S
#
1
#
o
-
#
-
o
#
1
o
#
S
n
o
#
2
S
#
o
1
S
1
w
S
?
b
.
p
Allegro moderato
1
-
1
.
-
1
S
2
2
n
M
.
?
b
.
-
1
.
-
1
#
1
M
3
o
n
1
G
J
S
-31-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto
e
1
n
M
o
.
n
4
M
.
2
A
4
A
1
n
M
o
.
n
M
o
.
1
n
M
o
.
M
.
4
4
J
S
?
b
b
b
b
. n
f
1
n
M
o
.
M
.
4
2
.
n
4
M
.
4
M
.
4
D
4
.
2
n
M
.
n
4
M
.
2
A
4
A
.
n
1
n
M
o
.
M
.
n
4
4
j
?
8
3
Allegro
p
1
2
S
1
M
2
S
3
M
1
S
2
M
1
S
4
M
1
cresc.
M
4
1
M
4
?
S
1
M
2
1
1
f
S
M
J
4
J
1
.
S
?
b
b
b
b
b
4
2
.
1
A
1
D
1
D
.
1
D
1
D
.
1
D
?
b
b
b
b
b
n
o
1
4
D
1
A
1
4
D
.
-32-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
Exercise 13. Of course we don't ordinarily put all these markings in the music, so write
only your fingerings in the second version of the examples following Exercise 9.
Then, play your fingerings for the examples following Exercise 9.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
4
2
Allegro giocoso
#
2
#
3
G
#
3
D
#
>
#
>
3
(
#
.
3)
#
3
G
#
4
G
#
4
D
#
4
#
#
?
dim.
1
D
#
#
1
D
#
1
#
#
1
#
1
#
1
#
1
#
p
?
c
.
Sehr gehalten
f
1
4
.
j
1
?
1
#
1
D
4
4
1
o
o
? #
1
#
1
2
#
1
?
#
1
#
o
-
#
-
o
#
1
o
#
n
o
#
2
#
o
1
1
w
?
b
c
.
p
Allegro moderato
1
-
1
.
-
1
2
2
n
.
?
b
.
-
1
.
-
1
#
1
3
o
n
1
G
J
-33-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
b
b
b
4
2
.
p
Andante con moto
e
1
n
o
.
n
4
.
2
A
4
A
1
n
o
.
n
o
.
1
n
o
.
.
4
4
J
?
b
b
b
b
. n
f
1
n
o
.
.
4
2
.
n
4
.
4
4
D
4
.
2
n
.
n
4
.
2
A
4
A
.
n
1
n
o
.
.
n
4
4
j
?
8
3
Allegro
p
1
2
S
1
2
1
2
1
4
cresc.
1
1
4
1
1
4
?
2
1
2
1
1
1
f
4
J
1
.
? #
#
4
3
Allegro non troppo
1
pif
A
n
2
2
n
D
2
#
4
1
#
1
D
#
2
1
n
1
?
c
Allegro vivace
o
f
b
4
.
o
b
.
.
o
.
.
1
.
b
1
.
.
2
.
.
.
o
n
.
4
D
.
.
2
#
.
.
.
2
D
.
?
1
4
D
b
.
b
.
4
b
.
.
2
.
.
4
.
.
2
D
b
4
.
.
4
b
.
b
.
.
o
.
b
.
.
o
b
-34-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.
Exercise 15. Go back to the examples following Exercise 6 and correct the fingerings
taking into consideration all the Simandl-Plus Fingering 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?
2
0
0
0
-
2
0
0
4
B
a
s
s
o
P
r
o
f
n
d
o
/
M
a
r
k
M
o
r
t
o
n
?
b
Allegro moderato
1
F
-
-
1
A
.
2 (
.
2)
D
.
2
D
.
A
-
-
1
A
4
?
b
1
-
-
4
-
-
2
n
-
-
2
-
-
2
4
?
b
.
.
.
-
#
1
.
.
1
D
.
-
1
4
2
3
n
1
3
4
3
-35-
2000-2004, Basso Profndo/Mark Morton. All rights reserved.