he section in the dominant (beginning m. 212) contains several passages that seem to be stumbling blocks for many double bassists. This section is admittedly easier to play in the key of G minor rather than A minor. The D and A string octave harmonics correspond nicely to the top two strings of the arpeggione, where the passage would most probably have been executed across the top two open strings. Nevertheless, many double bassists seem to have great difficulty with this section despite the easy availability of harmonics. This is probably due more to difficulty handling cross-string technique in general than anything specific to this passage.

The original passage:

The passage as it is commonly transcribed:

Figure 16. Despite natural harmonics, the passage is still difficult to execute because of awkward string crossings.

As with many of the difficult passages throughout the sonata, workable solutions to technical problems can often best be solved when the cross-string possibilities are explored and the inordinate reliance on traditional positioning systems based on harmonics and open strings is cast aside.

Figure 17. A fingering suggestion.20

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