Fingering of the Viennese Double Bass
(2016)
author(s): Feng Zhou
published in: KC Research Portal
ame: Zhou Feng
Main Subject: Violone
Research supervisor(s): Kate Clark
Title of Research:
Fingering of the Viennese Double Bass
Research Question:
What was the historical fingering of the Viennese double bass? Which different effects it would have on different fingerings? What’s the modern solution of fingerings and its influence?
Summary of Results:
The Viennese Double Bass was a dominant type of double bass used in the Classical Period in Vienna. It usually has 5 string, tuned in F1-A1-D-F#-A, with frets. Unfortunately, we can barely find any historical material that was written down on the fingering of this instrument. Through the analysis of the history of fingerings on various double basses documented in historical methods, I can find the pattern of fingering that is often related to the tuning intervals of the instrument. The Viennese double bass was possibly using a '1-2-4' fingering system. In my research paper, I give the suggestions of specific fingerings, including basic fingerings (scales, arpeggios), exception fingerings (chordal fingering, octave fingering). For octaves, I find the possible solutions by using basic, chordal, extension fingerings and shifting strategy. With excerpts of solo works and orchestral parts, I give further explanation of the fingerings. Finally, I try to point out that the modern tuning of the Viennese double bass could cause alteration of the historical fingerings. Furthermore, it would also change the timbre.
Biography:
Master student of Violone (Koninklijk Conservatorium, Den Haag)
Artist Diploma of Double Bass (China Central Conservatory, Beijing)
Master Degree of Journalism (Tsinghua University, Beijing)
The Early Violone
(2015)
author(s): Maggie Urquhart
published in: KC Research Portal
Name: Margaret Urquhart
Main Subject: Master of Music
Research Coach: Peter Holman
Title of Research: The Early Violone
Research Question:
What were the earliest violones, how can they be defined and how were they used till 1700?
Summary of Results:
After looking at evidence of the emergence of the first low bowed string instruments in Europe, this paper follows the types and use of the main instruments which could be termed violones till 1700, mainly centered in Italy. Through the study of treatises referring to the violone, scores using the term, iconography, secondary sources and the reconstruction of a copy of a violone from 1590, it follows the development of the violone till it becomes an octave-doubling instrument. The presentation of the extended paper will include a closer look at the issues surrounding the history of, and the term, violone, and live performance of music demonstrating the early violone, together with two viola da gambas in a consort.
Biography:
Margaret Urquhart studied double bass and violone with Anthony Woodrow and viola da gamba with Anneke Pols at the Royal Conservatory in The Hague. She subsequently joined many notable Baroque ensembles. In 1986, she became a member of Frans Bruggen’s Orchestra of the Eighteenth Century of which she is the first bassist. In addition to a busy performing schedule, she teaches at Amsterdam and The Hague conservatories, gives master classes internationally and coaches at the European Baroque Orchestra courses. She performs on the Viennese bass, the 8’ violone in various tunings and the 16’ violone and double bass.