Volume 16, October 2022
A Technical Guidance for the Dragonetti Concerto In A Major By Édouard Nanny and Beyond

by Irmak Sabuncu

3. Thumb Position

The literature suggests that a correct thumb position is critical for pieces from the beginning to the most advanced level. This section contains brief suggestions without quotations from the concerto.

The curved shape of the fingerboard in string instruments makes the consciousness of intonation necessary while performing horizontally, that is, in the same position. It is even more distinct in the thumb position. This paper contains pictures of the thumb position and some helpful horizontal exercise suggestions for the thumb position.

The primary step for an ideal thumb position is to obtain the ideal hand position, which allows pressing the fleshy parts of the first, second, and third fingers without contraction. The lengths of fingers, the size of palm, and the position of the thumb on the string are the determining factors for the shape and position of the left hand. The examples below show the common thumb positions, and Picture 4 shows the recommended hand position.

Picture 1

Picture 2

Picture 3

Picture 4

Another suggestion to prevent the left arm from contracting is to minimize the distance of the left wrist from the left shoulder. As the left hand moves away from the shoulder, controlling becomes challenging, which causes a contraction of the whole body, starting at the left arm. Picture 6 is the recommended arm position.

Picture 5

Picture 6

These recommendations for a healthy and effective thumb position should be considered when executing the A Mixolydian scale in Exercise 8 (below). Besides playing in the same position, the left wrist should move in the finger's moving direction while executing this example. Thus, the action is carried out with the whole hand and not only with the fingers. As a result, the hand will not be stiff, and the player gains extra speed.

Exercise 8. Irmak Sabuncu, Exercise for Thumb Position

A subsequent study (Exercise 9) contributes to the string-crossing ability of horizontal playing. This exercise was derived from Jeff Bradetich's "thumb drill" exercise.⁹

Exercise 9. Irmak Sabuncu, Exercise for Thumb Position

Finally, it is worth briefly mentioning the hand size adaptation. Because the positions on the fingerboard become smaller as one gets closer to the bridge, the hand position needs to be adapted to it. Exercise 10 aims to help the hand size adaption on different places of the fingerboard by executing the C and G major scales with the same fingering pattern.

Exercise 10. Irmak Sabuncu, Exercise for Thumb Position