Basic Finger Patterns
(edited November 24, 2021)
What are finger patterns?
Finger Patterns refer to the 1/2-step (semi-tone) and whole-step (tone) spatial arrangements of a stringed instrumentalist's left-hand fingers. Four basic patterns address all major, natural-minor, and melodic-minor scalar sequences. These four patterns can be applied to any low, middle, or high position on the fingerboard. There are other finger patterns that accommodate chromatic and harmonic minor scalar material, however, these are not addressed below.
Before discussing finger patterns, I should note that there are several perspectives on finger-pattern sequencing and quantity. This is my take. The original sequence of patterns was codified by George Bornoff (1907-1998) and can be found in his text, Bornoff’s Finger Patterns (1948). Since then, the finger-pattern sequence has been altered and expanded to account for more traditional approaches to string teaching (Hamann & Gillespie, 2013; Howell, 1989; Barber, 2013). Perhaps the best example of this is Barbara Barber’s “Fingerboard Geography” series, where Barber expands the number of patterns and labels them using colors (red, blue, etc.).
Herein, I discuss two approaches to fingers patterns: 1) general patterns, and 2) patterns in practice. General patterns are defined as the most fundamental finger patterns; the common denominators, if you will. Patterns in practice refer to how the general patterns are realized within various tonal centers and keys. It is the patterns in practice that are paramount to Bornoff and Barber's approaches. While acknowledging the difference between these approaches is rather inconsequential for violinists and violists, it is paramount in understanding how to address cello and bass finger patterns. We will touch on this more later.
GENERAL FINGER PATTERNS
The general finger patterns refer to the most fundamental finger arrangements on the fingerboard. 'One-string' examples of each have been provided below. Note of the following:
Here are the general finger patterns used by violin, viola, cello, and double bass.
Before discussing finger patterns, I should note that there are several perspectives on finger-pattern sequencing and quantity. This is my take. The original sequence of patterns was codified by George Bornoff (1907-1998) and can be found in his text, Bornoff’s Finger Patterns (1948). Since then, the finger-pattern sequence has been altered and expanded to account for more traditional approaches to string teaching (Hamann & Gillespie, 2013; Howell, 1989; Barber, 2013). Perhaps the best example of this is Barbara Barber’s “Fingerboard Geography” series, where Barber expands the number of patterns and labels them using colors (red, blue, etc.).
Herein, I discuss two approaches to fingers patterns: 1) general patterns, and 2) patterns in practice. General patterns are defined as the most fundamental finger patterns; the common denominators, if you will. Patterns in practice refer to how the general patterns are realized within various tonal centers and keys. It is the patterns in practice that are paramount to Bornoff and Barber's approaches. While acknowledging the difference between these approaches is rather inconsequential for violinists and violists, it is paramount in understanding how to address cello and bass finger patterns. We will touch on this more later.
GENERAL FINGER PATTERNS
The general finger patterns refer to the most fundamental finger arrangements on the fingerboard. 'One-string' examples of each have been provided below. Note of the following:
- Given the size differential between instruments, violins and violas patterns enable access to pitches spanning an augmented fourth. Cellos have access to major third. Double basses have access to a major second.
- The '1x2' in the cello diagram below refers to the cello extension, which can be implemented using either a backwards or forwards motion of the hand.
- It is debatable whether basses use finger patterns. Given the chromatic nature of the instrument, many bass players I have spoken with tend to think in intervallic relationships rather than finger patterns. This makes sense, given that bassists can only play three pitches 1/2 step apart (e.g., E, F-natural, F-sharp) on any given string without crossing strings or shifting. I have choose to address them in this discussion anyway.
Here are the general finger patterns used by violin, viola, cello, and double bass.
When writing these patterns out, the hash (-) indicates a whole step (tone) relationship between finger numbers. No space between finger numbers indicates a 1/2 step (semi-tone) relationship. The cello patterns are in parentheses and exclude the fourth note of the pattern.
FINGER PATTERNS IN PRACTICE (Four- and five-note patterns)
When the the finger patterns are put into practice, the general finger patterns are placed into context of the open string. The result is the four-note patterns and five-note patterns. To help explain this, I refer to previous work of George Bornoff (1948) and Robert Klotman (1963, 1971).
Adding the open string, we start with four-note patterns. The goal is to introduce to cellos the three general finger patterns in context to the open string.
- 1-23-4 (1-34) "one / twenty-three / four" or "one / three / four"
- 12-3-4 (12-4) "twelve / three / four" or "one / two / four"
- 1-2-3-4 (1x2-4) "one / two / three / four" or "one / extension / two / four"
- 1-2-34 (1x2-4) "one / two / thirty-four" or "one / extension / two / four"
FINGER PATTERNS IN PRACTICE (Four- and five-note patterns)
When the the finger patterns are put into practice, the general finger patterns are placed into context of the open string. The result is the four-note patterns and five-note patterns. To help explain this, I refer to previous work of George Bornoff (1948) and Robert Klotman (1963, 1971).
Adding the open string, we start with four-note patterns. The goal is to introduce to cellos the three general finger patterns in context to the open string.
Why Teach Finger Patterns?
Fingers patterns are a means of 'chunking' individual finger placements into larger tonal patterns. This approach rejects the notion that singular finger placements should be learned in isolation of each other and, instead, reinforces the ideal that finger placements are more aptly learned when the spatial relationships between fingers are taught and understood. It is this spatial understanding that provides meaning to each finger placements and later contributes to the learning of scale patterns.
To illustrate this point, let's replace finger placements with numerical digits. Consider how we 'chunk' together a 10-digit phone number. When learning a phone number, we don’t memorize each digit individually.
5 – 7 – 1 – 4 – 5 – 7 – 1 – 2 – 3 – 4
Instead, we separate the ten digits into three 'chunked' groupings using hyphens. Upon viewing these three large digits, our brains then engage in a pattern-analysis process in search of meaningful relationships between in individual digits. In the present case, 571 represents to area in which we live. Everyone uses it, so it is part of the area's identity. The second number yields a more subtle, but definite pattern. You may have seen 457 as 4(+1=)5(+2=)7. The relationship between the last four numbers is much more obvious. 1234 appears in serial order. Because we established meaningful relationships between each individual digit, the whole 10-digit string is now easier to recall:
571 – 457 – 1234
Finger patterns are based on the same principle. Consider the eight pitches in a ‘D major’ scale.
D – E – F# – G – A – B – C# – D
When we use finger patterns, these eight notes are reduced to one finger pattern and a string crossing, making the D major scale easy to remember.
[D – E – F#G] = The 0-1-23-(4) finger pattern on the D string
[cross strings from the D to A]
[A – B – C#D] = The 0-1-23-(4) finger pattern on the A string
It should be said here that finger patterns should never substitute knowing pitch names or sounds on the fingerboard. Students should be well versed in all three.
To illustrate this point, let's replace finger placements with numerical digits. Consider how we 'chunk' together a 10-digit phone number. When learning a phone number, we don’t memorize each digit individually.
5 – 7 – 1 – 4 – 5 – 7 – 1 – 2 – 3 – 4
Instead, we separate the ten digits into three 'chunked' groupings using hyphens. Upon viewing these three large digits, our brains then engage in a pattern-analysis process in search of meaningful relationships between in individual digits. In the present case, 571 represents to area in which we live. Everyone uses it, so it is part of the area's identity. The second number yields a more subtle, but definite pattern. You may have seen 457 as 4(+1=)5(+2=)7. The relationship between the last four numbers is much more obvious. 1234 appears in serial order. Because we established meaningful relationships between each individual digit, the whole 10-digit string is now easier to recall:
571 – 457 – 1234
Finger patterns are based on the same principle. Consider the eight pitches in a ‘D major’ scale.
D – E – F# – G – A – B – C# – D
When we use finger patterns, these eight notes are reduced to one finger pattern and a string crossing, making the D major scale easy to remember.
[D – E – F#G] = The 0-1-23-(4) finger pattern on the D string
[cross strings from the D to A]
[A – B – C#D] = The 0-1-23-(4) finger pattern on the A string
It should be said here that finger patterns should never substitute knowing pitch names or sounds on the fingerboard. Students should be well versed in all three.
Why this Sequence?
The sequence suggested above is how I choose to teach finger patterns when developing students' left-hand frames within heterogeneous string ensembles. Sequences may differ in private studio settings given the technical idiosyncrasies of each instrument. My justification is as follows:
FP#1 and FP#2 are typically taught first during initial training, because the violinist and violist's first and third fingers remain a minor third apart (E to G on the D string; B to D on the A string) when switching between patterns; only the second finger moves. This consistency in finger placement is, of course, ideal when working to solidify a student’s left-hand frame. When I say hand frame, I am referring to the placement of the outermost left-hand fingers on the fingerboard, excluding the thumb. For example, the violinist and violist’s hand frame is shaped by the position of the first and third fingers, with the option of including the fourth finger initially or during later instruction. Cellists and bassist’s hand frame is shaped by the position of the first and fourth finger. The violin, viola, and cello baseline hand frame spans the interval of a minor third (e.g., E to G on the D string; B to D on the A string), whereas the double bass hand frame spans a major second (E to F#; A to B), given the added length of the fingerboard. Note that when shaping the hand frame, all fingers in between the first and fourth finger are also placed on the fingerboard.
FP#1 and FP#2 are typically taught first during initial training, because the violinist and violist's first and third fingers remain a minor third apart (E to G on the D string; B to D on the A string) when switching between patterns; only the second finger moves. This consistency in finger placement is, of course, ideal when working to solidify a student’s left-hand frame. When I say hand frame, I am referring to the placement of the outermost left-hand fingers on the fingerboard, excluding the thumb. For example, the violinist and violist’s hand frame is shaped by the position of the first and third fingers, with the option of including the fourth finger initially or during later instruction. Cellists and bassist’s hand frame is shaped by the position of the first and fourth finger. The violin, viola, and cello baseline hand frame spans the interval of a minor third (e.g., E to G on the D string; B to D on the A string), whereas the double bass hand frame spans a major second (E to F#; A to B), given the added length of the fingerboard. Note that when shaping the hand frame, all fingers in between the first and fourth finger are also placed on the fingerboard.
Finger Pattern #1 (Violin/Viola)
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Finger Pattern #2 (Violin/Viola)
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Finger Pattern #1 & #2 (Cello)
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FP#3 and FP#4, on the other hand, are later in the sequence because they extend the interval of the hand frame from a minor third to a major third (e.g., B-flat to D on the A string; B to D# on the A string). Thus, FP#3 and FP#4 change the baseline hand shape. For violinists and violists, this technique is relatively simple to teach; however, cellos must undergo a more complex process known as 'extensions.' FP#3 requires a backwards-extension, while FP#4 requires a forward extension. Of these extension patterns, the backwards extension tends to be taught first in current string class method books because it involves fewer motions. That said, a case can be made for teaching the forward extension first: the motion is larger, more holistic, and more demonstrative of the whole-step relationship between the first and second fingers. Doing this, however, would require our method books to be resequenced, introducing A major before F major and Bb major, etc.
Finger Pattern #3 (Violin/Viola)
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Finger Pattern #4 (Violin/Viola)
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Extension Finger Pattern #3 & #4 (Cello)
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There are (at least) two arguments for starting class instruction with FP#1 rather than FP#2: 1) the physiology of the hand, and 2) starting on open strings. In Teaching the Actions of String Playing, Paul Rolland argues that instruction should begin with FP#1 because it better resembles the hand's "native" position when resting at one's side (1st & 2nd finger rest a whole step apart, while the 2nd, 3rd, and 4th fingers rest a half-step apart; e.g., B, C-sharp, D, E-flat on the A string). If FP#1 better resembles the hand in its most relaxed state, perhaps instruction should begin with FP#1.
The second argument is more curricular-based. It is more efficient for initial instruction to start on open-string major scales. First, open strings major scales are more resonant, making intervals easier to hear. Second, open strings major scales allow teachers to isolate right-hand instruction from left-hand instruction, and vice-versa. If we begin instruction on open-string scales (D major, G major, or A major), we must start with FP#1. If we begin on a fingered pitch, like in C major or G major (upper octave) we have to start with FP#2.
In class settings, I start with D major. First, every instrument in the orchestra has an open D string and can play a one-octave D major with relative ease. This includes bass players who have to shift. Second, D major begins on an open string as opposed to a fingered note. Third, D major uses the same finger pattern (FP#1) on both the D and A strings. Fourth, D major only requires one string crossing, and finally, D major is a sing-able range for children.
I don’t start in G major because of some inherent technical issues on violin and double bass. On violin, the G-string is on the far left side of the instrument, which can be difficult to bow for a young violinist during initial instruction without causing unnecessary tension in the right shoulder. Similarly, young double bassists with small hands have to play G(2) on the E string, which is difficult given the string's ‘rope-like’ thickness. With regards to A major, only violinist can play A major easily. Violists and cellists must use FP#4 and basses play in ½ position.
All that said, if you want to start instruction with D Dorian using the FP#2, go for it. Know, however, that no method books use this sequence, so you will need to write your own instructional materials. I would start by adopting a modern method book and changing all the F- and C-sharps to F- and C-naturals.
Should I Teach Finger Patterns or Scales?
The answer here is "both." With exception to FP#1, finger patterns should dictate the sequence of scales within a string curriculum, which is quite different in band pedagogy. String players typically learn the finger patterns first in one-string tetra-chords (D-E-F#G) and then align them with an corresponding scales shortly thereafter. In the chart below, I have listed the sequence of one-octave scales, their requisite finger patterns and the octave in which they occur. You will see how the finger patterns are listed chronologically, whereas the scales tend to work backwards around the circle of fifths. Starting instruction with sharps is called the sharp method, and it is how the vast majority of baseline string classes begin. Other genres, such as bands, begin using the flat method, while pianists use the natural method.
Key:
O = Open, 1 = 1st finger, 2 = 2nd finger, etc.
1/2 = Half position, II = 2nd position, III = 3rd position
1x = Backwards extension
* Some teachers use G minor as an opportunity to teach basses the G harmonic on the G string.
O = Open, 1 = 1st finger, 2 = 2nd finger, etc.
1/2 = Half position, II = 2nd position, III = 3rd position
1x = Backwards extension
* Some teachers use G minor as an opportunity to teach basses the G harmonic on the G string.
Teaching Finger Patterns
To teach finger patterns, use blocked and independent tetra-chords. A tetra-chord is a scalar four-note sequence, such as D-E-F#-G on the D-string. When G is performed with the F# and E down on the fingerboard, this is referred to as a block fingering. When G is performed with the F# and E hovering over the string and ready to play, this is known as independent fingering. Block fingering is taught first to help students become familiar with each finger pattern. Once students can easily demonstrate the finger pattern using a block fingering, teach the tetra-chord using an independent fingering.
Block Fingering Strategies
Independent Fingering Strategies
I hope you enjoy trying these strategies. Let me know your thoughts.
WORKS CITED
Barber, B. (2008). Fingerboard geography: An intonation, note-reading, theory, shifting system [for string class]. Van Nuys, CA: Alfred Publishing.
Bornoff, G. (1948). Bornoff’s finger patterns for violin. Toronto, Canada: Gordon V. Thompson.
Bornoff, G. (1949). Bornoff’s finger patterns for viola. Toronto, Canada: Gordon V. Thompson.
Bornoff, G. and LeCarpentier, S. (1949, 1960). Bornoff’s finger patterns for violoncello with addenda. Toronto, Canada: Gordon V. Thompson. [Original publication in 1949; addenda added by Suzanne LeCarpentier in 1960]
Bornoff, G. (1951). Bornoff’s finger patterns for string bass. Toronto, Canada: Gordon V. Thompson.
Klotman, R. H. (1963). Action with strings, book 1: A string course and book of songs for development beginning string players (Teacher's Score). San Antonio, TX: Southern Music Co.
Klotman, R. H. and Harris, E. (1971). Learning to teach through playing: String techniques and pedagogy. Reading, MA: Addison-Wesley Publishing Co.
Klotman, R. H. (1988, 1996). Teaching strings: Learning to teach through playing. New York, NY: Schirmer Books.
Block Fingering Strategies
- ‘Walk Up, Play Down’ (Allen, 2003): With the instrument in playing (or guitar) position, ask students to place their fingers on the specific notes of the tetra-chord in ascending order (e.g., D-E-F#G). As they place their fingers down, have them speak the note names. Ensure students left-hand frame is correct. Once all the fingers are down, pizzicato or arco the pitches in descending order (e.g., GF#-E-D).
- ‘Going Up with Rests:’ With the instrument in playing (or guitar) position, ask students to pizzicato or arco each note of the tetra-chord followed by a rest (e.g., D-rest-E-rest-F#-rest-G-rest). During the rest, place the subsequent finger down. Speak the note names and ensure students left-hand frame is correct when they reach the top of the tetra-chord. Once all the fingers are down, pizzicato or arco the pitches in descending order without rests (e.g., GF#-E-D).
- Playing Up; Playing Down: Play the tetra-chord up and down using a variety of rhythms for each pitch.
Independent Fingering Strategies
- ‘Walk Up, Play Down One-at-a-Time’ (Allen, 2003): Walk up the tetra-chord. Speak the note names and ensure students left-hand frame is correct. Once all the fingers are down, lift the F# and E. Play down the tetra-chord, placing only one finger down at a time. The other fingers should remain close to the string.
- Finger Taps: Tap each note of the tetra-chord several times in succession. Be sure each finger stays close to the string.
- From A: Start on the higher adjacent open string. Cross the string to the lower adjacent string.
I hope you enjoy trying these strategies. Let me know your thoughts.
WORKS CITED
Barber, B. (2008). Fingerboard geography: An intonation, note-reading, theory, shifting system [for string class]. Van Nuys, CA: Alfred Publishing.
Bornoff, G. (1948). Bornoff’s finger patterns for violin. Toronto, Canada: Gordon V. Thompson.
Bornoff, G. (1949). Bornoff’s finger patterns for viola. Toronto, Canada: Gordon V. Thompson.
Bornoff, G. and LeCarpentier, S. (1949, 1960). Bornoff’s finger patterns for violoncello with addenda. Toronto, Canada: Gordon V. Thompson. [Original publication in 1949; addenda added by Suzanne LeCarpentier in 1960]
Bornoff, G. (1951). Bornoff’s finger patterns for string bass. Toronto, Canada: Gordon V. Thompson.
Klotman, R. H. (1963). Action with strings, book 1: A string course and book of songs for development beginning string players (Teacher's Score). San Antonio, TX: Southern Music Co.
Klotman, R. H. and Harris, E. (1971). Learning to teach through playing: String techniques and pedagogy. Reading, MA: Addison-Wesley Publishing Co.
Klotman, R. H. (1988, 1996). Teaching strings: Learning to teach through playing. New York, NY: Schirmer Books.