&

#
#
4
3

3
II
III
I
II

1
o
o
2

2
o
o
3

2
1
III
II I
II
II
III

2
1

1
2

2
1
I
II
II
III

2
III
IV

3
II
III
I
II
&
#
#

1
o
o
2

2
o
o
3

3
2
II
III
I
II

1
o
o
2

2
o
o
3

2
o
o
3

1
o
o
2

2
o
o
3

2
3
II
III
I
II
II
III
I
II

2
3

1
o
2
o
II
III

2
3
o
o

simile

I
II

1
2
o
o

3
2
II
III
I
II
&
#
#
()

2
1
o
o

simile

II
III

3
2

3
2
o
o
I
II

2
1
Loco

2
1
II
III

1
2

I
II
II
III

2
1

.
.

2
J

III
IV
II
III

4
L
L

L
4
L
III
I
II
62
Viennese Bass Method
Lesson 11. Thumb Position: Double Stops on Harmonics
www.viennesetuning.com
Exercise 86. Thumb Position: Double Stops on Harmonics
Based on Sperger, Concerto No. 17, 2nd Movement
Copyright 2009 by Igor Pecevski
The solo Viennese music features the double stop figurations on harmonics in far greater variety than the
modern bass repertoire. Their use is not limited only to the top two strings but can span all four in various
double, triple and even quadruple stop combinations. These are often performed within the same position
and related to the triadic convenience, although in some instances their position arrangements may appear
unexpectedly creative and daunting. This is the reason why the first exercise covers the entire fingerboard
range and offers a complete harmonic stops pitch reference.
Within the Viennese system the harmonics can also be performed on the upper and lower parts of the
fingerboard as on the modern bass (above and bellow the octave harmonic). This fact was well known to
the period bassists and in certain pieces the exact location of harmonics can easily be deduced from the
location of common pitches that follow them. In the case of Dittersdorf concerti, it is obvious that
harmonic figurations are intended for the lower part of fingerboard in the region of 5th and 7th position.
The same approach can be found in the Hoffmeister concerto harmonics excerpt presented here (Flautino
marking is the equivalent of 8va marking).
The remaining examples are based on the advanced Sperger technique and will require a bit of patience at
first. It will be of help if one is well familiar with previous lessons before attempting this one.
&
#
#
c
Flautino
5th Position
7th Position

1
o

1
o

1
o

1
o

1
o

o

o

o
III II I II I
w
o
.
1
o

1
o

1
o

1
o

1
o

1
o

o

o

o
III II III II I
w
o

1
1
o
o

1
1
o
o

1
1
o
o
II
I
III
II
&
#
#

1
1
o
o

1
1
o
o

1
1
o
o
II
I
III
II
.
.

1
1
o
o
J

1
1
o
o

1
1
o
o

II
I
III
II I
II

Loco
1

L
#
1

2

III II

1

4

I II III
&
#
#
c

III II I
.
3

3
2
o
o

2
1
o
o

I
II III
II
.
Loco
3

3
2
o
o

2
1
o
o

I
II
II
III
&
#
#
#
4
2

3
o

2
o

3
o

3
o

2
o
I II I II

1

2
o

2
o

3
o

1
I III

2
o

3
2
o
o

3
2
o
o
j

3
2
o
o

II
III

3
o

3
o

3
o

3
o
I
II

U
o
3

&
#
#
#

B

.
R

Loco 3
o
I

3
o

2
o

3
o

1

4
II I II III IV
j

L

j

L
3

I
II
III
IV
J

1
o
o
2

R

1
1
o
o
J

3
2
o
o
j

2
1
III
II I
II III
II

L
3
j

L
3

III
III
II
I
IV
63
Exercise 87. Hoffmeister, Concerto no. 1, 1st Movement
Exercise 88. Sperger, Solo Quartet C III-23, 1st Movement
Exercise 89. Sperger, Concerto No. 13, 2nd Movement
&
#
#
4
2

L
1
2
3
o
o
o

2
3
o
o

3
o
III
II
I
II
I I
II
IV
III
II
I

1
2
o
o

.
r

III
II III

L
1
2
3
o
o
o

2
3
o
o

3
o
III
II
I
II
I I
II
IV
III
II
I

1
2
o
o

.
r

III
II III
&
#
#
()

2
o

R

2
o

III II I

2
o

2
o

2
o

1
o
3
o

2
o
R

1
o

III II III I II III

2
o

R

2
o

III II I
&
#
#
()

2
o

2
o

2
o

1
o
3
o

2
o

1
o

R

Loco
III II III I II III I

3







1
2

1
2

I
II
II
III

2
1

2
1

2
1

&
#
#
4
3
dolce

&
#
#

# n



J

J






.

r
K

&
#
#






.
#
.

.
b
.
n
.
n
.
#
.

64
Exercise 90. Sperger, Solo Quartet C III-23, 2nd Movement
Exercise 91. Sperger, Concerto No. 17, 2nd Movement, Sight-reading sample