STRING FINGERING DIAGRAMS F.G.J.

Absil

String Fingering Diagrams

F.G.J. Absil

2nd January 2005

Abstract
This document contains a set of string instrument fingering diagrams that may be used for check-
ing multiple stops and combinations with natural harmonics. Diagrams (fitting on a A4 size page)
are provided for violin, viola, cello double bass and guitars.

1 Guidelines for the use of the fingering diagrams

The diagrams in the following sections show the fingerboards of the most frequently used string in-
struments: violin, viola, cello, double bass and guitar. The positions on the string for each note in the
chromatic scale are shown, starting from the open string at the top to the 2nd octave (24 chromatic steps)
above the open string at the bottom. Positions are shown to scale and have been calculated using equal
temperament tuning.
Note numbers have been indicated on the left at the positions of the natural harmonics. Note names
are shown at these positions on each string. Use Table 1 to find out the equivalent sounding note at each
harmonic.

Table 1: String instruments: natural harmonics.

Position number Interval above Harmonic Will sound as interval

on the string open string number above fundamental

4 major 3rd 5 2 octaves plus major 3rd

5 perfect 4th 4 2 octaves
7 perfect 5th 3 1 octave plus perfect 5th
9 major 6th 5 2 octaves plus major 3rd
12 1 octave 2 1 octave
16 1 octave plus major 3rd 5 2 octaves plus major 3rd
19 1 octave plus perfect 5th 3 1 octave plus perfect 5th
24 2 octaves 4 2 octaves

I use the diagrams at the end of this document when writing double stops, multiple stops or combi-
nations of these with natural harmonics for string instruments. Textbooks will give tables with multiple
stops for strings or show them as musical notation (on the staff); however, these mostly show only a
subset and they obviously do not consider the ease of playing when they occur in the middle of a phrase.
In the case of the guitar, there are many fretboard diagram books on the market, but they all use the as-
sumption that the chord structures are based on the basic interval of the third (the triad is a combination

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of two 3rds, the 7th chord a combination of three 3rds, etc.); for other multiple stops (such as chords in
4ths or tone sets in atonal music) these fretboard diagrams become almost useless.
Therefore, I like to get a feel for the complexity of my writing by checking the physical position of
the fingers on the fingerboard. I put a hardcopy of the diagrams on my desk and take a set of game tokens
(board game pawns will do perfectly), one for each finger. I will move these tokens along the diagrams
as I check the score or part. Of course, consulting a string specialist on your fingering is better, but this
is a great first order check. Feel free to use these tools, if you agree with me!

2 The String Quartet

Figure 1 shows the fingerboard of the individual instruments from the String Quartet: Violin 1, Violin2,
Viola and Cello. Finger positions are shown as black circles, positions of the natural harmonics as open
circles. The wide gray bar indicates the normal hand span, the narrow gray bar shows the extended hand
span.

3 The Double Bass

Figure 2.a shows the fingerboard of the double bass. This becomes relevant when writing for string
orchestra or for the full string section of a (symphony) orchestra. Although double stops are most infre-
quent for this instrument, you may use this diagram to check a complex sequence (alternate normal tones
with harmonics) in your music.

4 The Guitar
Figure 2.b shows the fingerboard of the six string fretted guitar in standard tuning. Fret positions are
indicated.

5 Further reading
In the reference list you will find a number of textbooks for further reading about string playing and
fingering problems: [1, 2, 5, 6] present a general introduction into orchestral strings, [4, 8] contain
instrument playing method and [3, 7] are great for guitar lookup material. Modern string playing aspects
are discussed extensively in [9].

References
[1] Samuel Adler, The Study of Orchestration, 2nd Edition, W.W. Norton and Company, New York,
ISBN 0-393-95807-8, 1989.

[2] Alfred Blatter, Instrumentation and Orchestration, 2nd Edition, Wadsworth/Thomson Learning,
Schirmer, Belmont CA, ISBN 0-00-02-82-864570-70-7, 1997.

[3] Ralph Denyer, The Guitar Handbook, Dorling Kindersley Ltd./Pan Books, London, 1982.

[4] Carl Flesch, Die Kunst des Violinspiels, 1. band: Algemeine und angewandte Technik, Ries & erler,
Berlin, ISMN M-013-0006-7, 1978.

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[5] Cecil Forsyth, Orchestration, Dover Publications, Inc., New York, ISBN 0-486-24383-4, 1982.

[6] Kent Kennan, Donald Grantham, The Technique of Orchestration, 5th Edition, Prentice-Hall Inc.,
Upper Saddle River, NJ, ISBN 0-13-466327-6, 1997.

[7] Jürgen Kumlehn, Die AMA Gitarrengrifftabelle, AMA GmbH Verlag, Brühl, ISBN 3-927190-06-3,
1995.

[8] F.A. Kummer, Violoncello-Schule, Ed. Hugo Becker, Edition Peters Nr. 3247, Edition Peters,
Frankfurt.

[9] Patricia Strange and Allen Strange, The Contemporary Violin, Extended Performance Techniques,
University of California Press, Ltd., Berkeley, CA, ISBN 0-520-22409-4, 2001.

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VIOLIN VIOLIN VIOLA CELLO

G D A E G D A E C G D A C G D A

b f# c# g# b f# c# g# e b f# c# e b f# c#
4 4 4 4

c g d a c g d a f c g d f c g d
5 5 5 5

d a e b d a e b g d a e g d a e
7 7 7 7

e b f# c# e b f# c# a e b f# a e b f#
9 9 9 9

g d a e g d a e c g d a c g d a
12 12 12 12

b f# c# g# b f# c# g# e b f# c# e b f# c#
16 16 16 16

d a e b d a e b g d a e g d a e
19 19 19 19

g d a e g d a e c g d a c g d a
24 24 24 24

(a) (b) (c) (d)

Figure 1: String Quartet fingerboard diagrams. (a): Violin 1, (b): Violin 2, (c): Viola, (d): Cello.

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DOUBLE BASS GUITAR

E A D G E A D G B E

g# c# f# b g# c# f# b d# g#
4 4

a d g c a d g c e a
5 5

b e a d b e a d f# b
7 7

c# f# b e c# f# b e g# c#
9 9

e a d g e a d g b e
12 12

g# c# f# b g# c# f# b d# g#
16 16

b e a d b e a d f# b
19 19

e a d g e a d g b e
24 24

(a) (b)
Figure 2: String instruments fingerboard diagrams. (a): Double Bass, (b): Guitar.

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