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71
Viennese Bass Method
Lesson 13. Standard Solo Bass Repertoire
www.viennesetuning.com
Exercise 102. Koussevitzky, op. 1 no. 2, Valse Miniature
Copyright 2009 by Igor Pecevski
Tempo di Valse
In this lesson we will introduce the most common pieces from the standard repertoire that are playable on
the Viennese tuning. These pieces however are intended for the steel string setup without period frets, as
they are conceived for the modern instrument and assume different shifting patterns.
The initial examples by Koussevitzky will demonstrate a unique benefit of shared top A sting that enables
the modern literature to be performed with hardly any alteration. Thus, all the performer needs to do is
play these pieces as on the modern instrument, but with the awareness of those few notes that "stray" out
of the top string. By this approach one can actually play the period tuning in a matter of seconds and also
quickly acquire a sense for the period notation. The second movement of Koussevitzky concerto can also
be performed on the single string, yet here the phrasing makes itself perfectly suited for the advanced
harmonic-based fingerings, so these are indicated.
The Bottesini pieces are also playable on the Viennese tuning and require only minor alterations. In the
famous Elegy the top string approach preserves all the original harmonics too. The B minor concerto
follows this pattern, yet with more of an F#string use, and a practical demonstration of this piece in
Viennese tuning can be heard at the "Music Samples" page of the site. Those who are well acquainted
with the concerto may recognize a small but necessary alteration in the cadenza. The ambitus in these
pieces is not an issue, because Bottesini's lowest string is the same as the Viennese fourth A string.
Lastly, in the Hindemith Sonata sample, we will see that even the 20th century polytonal literature can be
performed on the Viennese tuning. As the piece was conceived for the tuning in fourths, it uses open
strings periodically, thus requiring the Viennese arrangement to be centered around the bottom two
strings. This unfortunately makes the original harmonics inaccessible except as arranged. Yet surprisingly,
the entire remaining corpus of regular pitches can be played without any alteration! Moreover, sometimes
a true single-position Viennese fingering can be used too, as seen in the Lied. Finale Allegretto section.
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72
Exercise 103. Koussevitzky, op. 3 Concerto, 1st Movement
Allegro
Alla Breve
The initial opening phrases of the concerto require shifts and fingerings to the lower positions that will
differ from the one common in modern tuning. However, starting with the Alla Breve section, everything
is playable as on the modern instrument's the top string. The indications for the use of second string may
be ignored and the harmonic references are here just for your convenience to explore and use them if
preferred.
The same top-string approach can be applied to the next exercise featuring the Second Movement. Here
however, the period fingerings may be more suitable as they enable the use of harmonics in period style
and thus emphasize more the unique Viennese tuning timbre. Fascinating but true: Sperger could have
performed Koussevitzky using his advanced technique - and with plenty of vibrato too!
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73
Exercise 104. Koussevitzky, op. 3 Concerto, 2nd Movement
Exercise 105. Bottesini, Elegia in Re
Andante Sostenuto
Andante
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74
Exercise 106. Bottesini, Concerto in B minor, 1st Movement
Exercise 107. Bottesini, Concerto in B minor, 2nd Movement
Allegro moderato
Andante
In this example most of the original Bottesini's articulation markings are omitted for the sake of clarity.
However, this omission should not imply that Bottesini's music ought to be performed with any less
expression than usually. Quite to the contrary, Viennese tuning - in its unfretted setup - can reach and
even exceed the expressive possibilities of the modern bass. A performance of this concerto in Viennese
tuning is featured on the "Music Samples" page of the site.
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75
Exercise 108. Hindemith, Sonata, 1st Movement
Exercise 107. Hindemith, Sonata, 3rd Movement, Finale section
Allegretto
Lied. Allegretto grazioso