,,chats ,,to ',,cello ,,students4 ,,printed ,,by ,e4 ,,shore ,,and ,,co41 #c ,,green ,,terrace1 ,,rosebery ,,avenue1 ,,london1 ,e4,c4 ,illustration3 ,,arthur ,,broadley4 ,,the ,,strad ,,library4 ,no4 ,,vii4 ,,chats ,,to ',,cello ,,students ,,by ,,arthur ,,broadley ,,copyright4 ,london3 ,,the ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,e4 ,,donajowski1 #bf1 ,,castle ,,street1 ,,berners ,,street1 ,w4 ,d4 ,r4 ,,duncan1 #ahf1 ,,fleet ,,street1 ,e4,c4 #ahii ,,contents4 ,,page ,,chapter ,i4--,preliminary ,remarks--',cello ,difficult to ,master--,choice of a ,teacher--,choice of an ,instrument and ,bow #a ,,chapter ,,ii4--,how to ,hold the ,instrument--,attitude of the ,player--,use of a ,sliding ,pin ,recommended--,correct ,way of ,holding the ,bow--,some ,incorrect ,sketches of ,same #f ,,chapter ,,iii4--,general ,knowledge--,eccentricity not ,necessarily a ,mark of ,genius--,musical ,notation--,common ,errors with ,respect to the ,actual ,position of the ,various ,clefs--,tenor ,clef ,indispensable to the ',cellist #ab ,,chapter ,,iv4--,early ,attempts at ',cello ,playing--,firmness in ,fingering--,the ,left ,hand--,correct ,method of ,placing the ,left ,hand ,fingers #ag ,,chapter ,v4--,general ,remarks on ,bowing--,useful ,method of ,combining ,scale ,practice with ,study of ,various ,bowings--,smooth ,bowings--,crescendo--,diminuendo--,the ,slur #bj ,,chapter ,,vi4--,bowing ,continued--,martel--,detached ,stroke--,mixed ,bowings--,the ,various ,divisions of the ,bow #bh ,,chapter ,,vii4--,on ,staccato ,bowing--,spiccato--,slurred ,springing-,bow--,varieties of ,phrasing ,occasioned by the ,portion of ,bow ,used--,sautill--,dotted ,notes #cc ,,chapter ,,viii4--,on the ,positions--,the ,individual ,requirements of the ,orchestral ,player and ,soloist--,the ,necessity of ,stretching for the ,intervals--,the ,locality of the ,neck ,positions--,the ,enharmonic ,difference of ,sharp and ,flat ,keys--,absolute ,pitch--,how to ,leap any ,awkward ,interval--,the ,positions not ,determined by ,mathematical ,rules1 but by the ,ear--,shifting--,economy of ,motion v4 ,effect--,choice of ,positions #db ,,chapter ,,ix4--,portamento--,the ,various ,uses of ,gilding--,some ,exaggerations ,exposed--,how to ,leap ,great ,intervals without ,howling--,combination of ,glissando and ,sforzando #ed ,,chapter ,x4--,double-,stopping--,useful in ,developing the ,hand--,how to ,determine the ,fingering of ,various ,intervals--,gliding in ,double ,stops--,chords--,a ,correct ,manner of ,playing ,chords #fa ,,chapter ,,xi4--,arpeggios--,their ,evolution from ,various ,chords--,the ,bowing of ,arpeggios #fg ,,chapter ,,xii4--,graces and ,embellishments--,the ,use of the ,thumb--,extensions--,octaves #gc ,,chapter ,,xiii4--,scientific ,basis of ,harmonics--,some ,peculiar ,laws which ,govern a ,vibrating ,string--,natural and ,artificial ,harmonics--,manner of ,bowing ,harmonics#hb ,,chapter ,,xiv4--,special ,effects--,trick ,staccato--,various ,methods of ,producing ,chromatic ,scale ,passages--,sul ,ponticello ,bowing and ,bowed ,harmonics--,flautando--,pizzicato ,glide and ,grace ,notes6 #hi ,,chapter ,,xv4--,delivery--,style--,form v4 ,feeling--,conception--,essentials of a ,fine ,delivery--,orchestral ,playing #id ,,preface4 ,in introducing this little work on ,violoncello ,playing1 a few words of thanks and explanation are perhaps necessary4 ,my thanks are due to the professional friends1 and students--and also to others with whom ,i am not personally acquainted1 who have spoken or written concerning the benefit they have derived from the study of the ,chats during the serial run in ,,the ,,strad4 ,it is a great pleasure to find that through the perusal of these crude literary efforts1 some few have derived pleasure or assistance--that some difficulty has been made easier of mastery4 ,an explanation will assist any who fail to realize the limitations and intentions of a work of this description4 ,in the first place it is impossible to thoroughly exhaust the whole science and art of 'cello technique and 'cello playing2 recognising this1 it has been my aim to draw on my own experience as a teacher of the instrument1 rather than follow in the trail of any existing work4 ,with respect to the intentions of the work1 nothing can equal viva-voce instruction and the personal supervision of a good master1 but it is to be feared that many who are really talented cannot afford lessons from anyone who is thoroughly capable of directing their studies--it is this class of player who will derive the most benefit from a conscientious study of the ensuing pages2 may the instructions contained therein1 direct and stimulate him to that which is good and artistic4 ,,arthur ,,broadley4 ,,bradford1 ,,yorks41 ,january1 #ahii4 ,,chats ,,to ',,cello ,,students ,,chapter ,i4 ,,preliminary ,,remarks--,,the ',,cello ,,difficult ,,to ,,master--,,the ,,choice ,,of ,a ,,teacher--,,choice ,,of ,,an ,,instrument ,,and ,,bow4 ,several works of more or less excellence have already been written on the violoncello and its study4 ,it is all the more difficult then to write a work treating on the whole subject of 'cello playing1 without in some measure going over the ground that has already been covered by previous writers4 ,as ,i have found1 however1 that certain branches of this interesting study have received but scant treatment1 and in some cases have even been completely ignored1 ,i have directed my special attention to these subjects2 thus1 much that has been passed over in existing works will be found to have here received due treatment4 ,throughout the whole of the present work1 ,i have endeavoured to clothe the matter in as original a manner as possible1 and putting aside all stereotyped phrases1 have tried to write in the same language that ,i would express myself in to a pupil having a course of actual lessons4 ,if by so doing1 anything that the student may have passed over as being unimportant1 now forces itself upon him1 my aim will be accomplished4 ,in various parts of the work ,i have endeavoured to introduce the reader to some of the higher branches of 'cello playing1 as far as it is possible through the medium of literature1 but it must be understood that any treatise on the higher branches of music can only be of a general character1 the laws which govern musical expression1 or those in connection with the delivery of a musical composition are so fugitive1 and players vary so much in the observation1 or disregard of them1 according to their individual temperament1 etc41 that to give any hard and fast rules would only be to put fetters on all individuality4 ,if the student is really musical he will obtain the best results in this direction1 by hearing our first class artists interpret the works of the great masters3 by thus bringing his faculties of observation and imitation into use1 he will gradually absorb some of their style1 which in due time will assert itself in his own performance4 ,,the ',,cello ,a ,,difficult ,,instrument ,,to ,,master4 ,if the reader has already commenced the study of the 'cello1 it will be advisable for either his parents or himself to make direct enquiries of his professor1 whether the latter thinks the pupil is sufficiently gifted to continue the study of this most difficult instrument4 ,of course every 'cello player cannot be a ,becker or a ,klengel1 but unless the student has a very correct ear1 and if he is old enough a fair amount of ambition1 it would be better for him to study some less exacting instrument2 that is if he feels compelled to learn something4 ,the piano is generally supposed to be the fallback classical instrument1 but ,i would not recommend this1 we have quite enough piano playing of the second and third and the atrocious order1 without violin and 'cello cast-offs trying their hand at it4 ,i do not know of a more pathetic sight1 than to see a youth with no musical gifts whatever1 wasting the best years of his life1 and his--or his parents'--money1 in the study of an instrument for which he has no natural capabilities4 ,perseverance1 although a very estimable gift1 never yet by itself made an artist1 the real artist is an artist because it is impossible for him to be anything else4 ,nevertheless if the pupil can feel assured that he has a fairly fine ear1 capable of easily distinguishing the difference in musical pitch1 and a natural feeling for rhythm1 he will be justified1 providing he likes music almost better than anything else1 in taking up the study of an instrument1 which for solo work ranks with the violin for difficulties4 ,,the ,,choice ,,of ,a ,,teacher4 ,the pupil is caused to suffer much inconvenience and perhaps even spoiled altogether for any real artistic work1 if his early studies are not directed in an efficient manner4 ,one smiles when one sees an advertisement in a local morning paper after the following fashion4 ,mr4 ----1 ,professor of ,music4 ,lessons on ,piano6 ,singing6 ,violin6 ',cello6 ,guitar6 and ,zither6 also ,french6 and ,german6 ,all one man1 remember1 not half-a-dozen1 and yet learned as he evidently is1 ,i would not trust him to show a pupil how to hold his bow correctly4 ,if the student resides in or near ,london1 he will obtain better results1 and in the long run will find that it costs him less1 to connect himself with one of the recognised institutions1 such as the ,royal ,academy of ,music or the ,guildhall ,school of ,music4 ,to be recommended by one of these institutions is to obtain the passport into the highest musical circles4 ,in the provinces the choice of a good 'cello teacher is not so great1 the reader will do well to remember that being a member of some fairly well known orchestra1 is not always a guarantee of excellence1 sometimes influence1 or money1 or perhaps both have been the means of obtaining the coveted position4 ,the student will do better then to have lessons from someone who is known to be a master of his instrument1 and if it should happen that the teacher is a better player than an exponent of the art of 'cello playing1 if the student carefully watches his style1 and hears him play often1 he will at least learn how a composition ought to be performed1 even if he is compelled to find out for himself how the mechanical part of its production is accomplished4 ,i know one of our first class teachers 7violin7 who seldom takes the instrument into his hands during a lesson1 contenting himself with verbal explanations2 this1 unless the student is above the average standard of intelligence can never be productive of really good results2 practical demonstrations generally being far more effective than mere talk4 ,the pupil then must see that his teacher can play the exercises which he teaches1 and should the teacher make any objection to exhibiting his skill in this fashion1 depend upon it that the lack of it has a great deal to do with it4 ,,the ,,choice ,,of ,,an ,,instrument ,,and ,,bow4 ,do not let my reader imagine that in the present work ,i am going to weary him with a long discourse on a matter which is so much controlled by the length of the purse2 ,i flatter myself1 however1 that the advice will at least be sound4 ,to those who can afford to buy a real genuine ,cremona of good name1 ,i have nothing whatever to say2 if they can afford this1 they can1 or ought for their own satisfaction and safety1 to pay for professional advice as to the real merit of their purchase4 ,it is to the readers with a limited amount of spare capital that ,i wish to address myself1 and ,i would tell them that there are a lot of fairly old instruments either ,german or ,french copies of one or other of the early ,italian ,school1 that will be found quite good enough for solos4 ,these instruments may have individual faults and weaknesses1 but the player will gradually find these out and learn to humour them4 ,of the old ,english instruments ,i would advise the reader to beware1 a lot of them although of good wood and passable varnish1 yet manage to have some more or less irreparable fault not readily discernible at first sight4 ,an instrument of this class ,i have in mind1 a beautiful 'cello spoiled with the f holes being cut about half their length too low1 making it impossible to play a forte passage on the ,a string owing to the bow coming in contact with the lower corners2 so that this would not be readily noticed a fingerboard had been fitted1 which was about three inches longer than is usual4 ,others are thin in the wood1 causing wolf notes in various positions4 ,these latter remarks refer more particularly to nameless old ,english instruments of the home-made type1 and of course do not apply to the best work of such makers as ,forster1 ,banks1 ,thompson1 ,joseph ,hill1 etc41 many specimens of which have a particularly fine tone4 ,to the young player buying an instrument for life1 if upwards of #ae can be given it is far better to purchase an entirely new one of good make1 of a model suited to the individual taste of the student2 by the time he has worked some ten or a dozen years on it he will have brought out most of the beauties of tone which the instrument is capable of giving4 ,a really good new instrument improves more rapidly than is generally admitted--with good hard exercise work in all the positions4 ,in choosing a bow ,dodd and ,tourte are names to conjure with1 but happily there are no lost secrets in the art of bow making1 and fortunately a new bow after a few weeks use is better than an old one1 therefore the craze for old bows except with collectors and rich amateurs1 will never be so pronounced as is the case with old instruments4 ,if the student can pay say a couple of sovereigns1 he must consider himself tricked if he does not secure a bow good enough for any sort of work1 and one which will with care last for years4 ,i have lately come across some ,french bows without any name1 retailed1 ,i believe1 at about thirty shillings1 which are very fine indeed1 nice and light with plenty of spring4 ,some recommend a second-hand bow1 saying that in buying one that has been used the faults1 if any1 will have made their appearance1 but as it is hardly possible to tell whether a bow has been much used unless the stick is very badly worn1 this is hardly sound4 ,buy from a conscientious dealer1 pay a fair price and trust to it1 that is all that can be done4 ,,chapter ,,ii4 ,,how ,,to ,,hold ,,the ,,instrument--,,the ,,attitude ,,of ,,the ,,player--,,the ,,use ,,of ,a ,,sliding ,,pin ,,recommended--,,correct ,,way ,,of ,,holding ,,the ,,bow--,,some ,,incorrect ,,sketches ,,of ,,same4 ,,attitude ,,of ,,the ,,player4 ,most pupils are surprised ,i have no doubt1 at the evident discrepancy seen in the plates usually published with 'cello schools1 when compared with the manner in which our first class artists hold their instruments4 ,i will endeavour in some measure to explain this away4 ,the correct way to hold the 'cello if the instrument is not fitted with a sliding pin is as follows4 ,the player to sit on the front part of the chair with the feet advanced1 the left a little more forward than the right4 ,the 'cello to be held with the legs1 the lower part of the front edge 7table7 of the instrument being held in position by the right calf--the edge of the back being supported by the left calf--the legs of the player not to cover the ribs of the instrument so that the vibration is not impeded4 ,the upper part of the back to the right of where the neck of the instrument is fitted should rest against the chest of the performer1 this will throw the scroll of the instrument a little to the left of the face4 ,the instrument to be held high enough for the bowing to clear the knees of the player4 ,the thumb to be placed in a horizontal position at the back of the neck of the instrument1 and should be between the first and second fingers4 ,the left elbow not to be raised4 ,this then is the correct manner of holding the 'cello4 ,if the reader will look at the plate which is published with either the ,kummer or the ,seb4 ,lee instruction book1 he will find that the figure there agrees with the foregoing rules in every particular4 ,if the student makes use of a sliding-pin these instructions cannot be observed in every respect1 the legs are not required to hold the 'cello1 the left knee alone being brought into use as a slight support--not to hold the instrument from the ground1 but to prevent it from rocking backwards and forwards4 ,illustration3 ,,fig #a4 ,in this matter ,i would like the student to understand that attitude does not assist in the production of music1 but do not let the reader imagine that if unnecessary posing does not help1 awkward and uncouth positions of the players do not take away from the effect4 ,anything which distracts the attention of the audience from the music should be rigidly avoided2 awkward attitudes1 and grotesque motions of the head and body should therefore be instantly suppressed by the teacher or the private friends of the student4 ,piatti1 who does not use a 'cello peg1 holds his instrument in a correct manner1 not shuffling about or varying his position4 ,now if the reader ever has a chance of hearing ,van ,biene1 let him observe the manner in which that artist holds his 'cello4 ,we have here the two extremes2 as ,piatti is of the strictly correct order1 ,van ,biene is of the exaggerated artistic order1 all the time he is playing constantly striking some fresh attitude4 ,if ,van ,biene had again to take to concert work1 ,i have no doubt that he would calm down a little in this respect1 his exaggerated style while being very effective on the stage1 would not be tolerated on the concert platform4 ,by all means let the student use a sliding-pin1 but let him take advantage of the greater facilities which are offered1 to make his attitude more artistic1 always adopting the happy medium in this matter at least1 correctness--without awkwardness1 artistic grace--without unnecessary vain posing4 ,as a first class elocutionist seeks by attitude to help the effect of his words1 not to distract the attention of his audience1 so the attitude of the 'cellist must be pleasing and easeful4 ,if the student will compare 7,fig4 #a7 with the plates usually published with 'cello schools1 especially the two previously mentioned1 he will see the importance of the matter4 ,,how ,,to ,,hold ,,the ,,bow4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,there can be no departure from the acknowledged way of holding the bow if the best results are to be obtained1 that is to say1 that the rules must be strictly observed as far as the individual shape of the hand will allow4 ,it will be observed that the nut of the 'cello bow is scooped out on the inner side1 which forms two projections1 one of these1 the lower one1 is surrounded with metal through which the hair of the bow passes1 the upper projection fits against the stick4 ,the extreme tip of the thumb should be placed on this upper projection 7,fig4 #b7 so that it is also partly on the stick1 the thumb being assisted in holding the bow by the second and third fingers4 ,the second or middle finger is so placed that the tip touches or overlaps the hair close to the lower projection2 the third finger falls naturally into its place next to the second finger1 and has its tip touching the metal1 or silver ferrule on the lower projection 7,fig4 #c74 ,these two fingers and thumb are all that are required to hold the bow1 the fourth finger serves to balance the bow and should be placed lightly on the stick1 its chief work being to prevent the bow dropping too much when playing at the heel1 and to ease the pressure on the strings in very light passages4 ,last but not least comes the first finger2 this is the member which is responsible for quality and quantity of tone1 it should have a slight bend round the stick1 and so that the other fingers do not interfere1 it should be placed slightly apart1 this also helps to bring out a louder tone if required4 ,the first finger like the fourth is not compelled to remain stationary1 thus in long semiquaver sautill passages1 where the extended position of the first finger would interfere with the natural spring of the bow1 it should be made to relax its pressure and take a position nearer the second finger2 again in long sustained heavy notes the first finger may be extended slightly1 so that more pressure may be put on the bow4 ,these last remarks are most important1 as the whole success of the student's bowing rests on the correct use of the first finger1 and the proper position of the thumb4 ,i cannot quit this subject without mentioning the importance of having the muscles1 especially the tendons on the back of the hand1 perfectly easy when the bow is in position4 ,to allow this1 the knuckles must not protrude in the least1 the fingers also help by being allowed to bend easily at their middle joints1 the upper phalanges having an almost horizontal position over the bow 7,fig4 #b74 ,the wrist is more rounded when playing near the heel than at the tip1 and also when playing on the lower strings4 ,without the aid of an ,edison ,cinematograph1 it would be impossible to demonstrate pictorially the action of the wrist1 fore-arm1 and upper arm during the transit of the bow from heel to tip1 and on all the four strings1 but if the preceding instructions are carried out the bow will at least be held properly4 ,although my remarks may seem rather drawn out on this subject1 from my own personal experience ,i may say that could ,i have had this knowledge imparted to me a couple of years earlier than was the case1 much unlearning and relearning at more than double the expense would have been saved4 ,to the student who is in possession of the ,seb4 ,lee instruction book1 ,i would remark that the position of the thumb as shown in the plate superscribed ,position de l'archet 7,fig4 #b7 is decidedly misleading4 ,it is impossible to have the thick fleshy part of the thumb near the first joint1 grasping the nut as there shown1 without having the fingers stiffly extended1 and the knuckles protruding2 a position which ,i wish the student to guard against4 ,,chapter ,,iii4 ,,general ,,knowledge--,,eccentricity ,,not ,,necessarily ,a ,,mark ,,of ,,genius--,,musical ,,notation--,,common ,,errors ,,with ,,respect ,,to ,,the ,,actual ,,position ,,of ,,the ,,various ,,clefs--,,tenor ,,clef ,,indispensable ,,to ,,the ',,cellist4 ,,general ,,knowledge1 ,,etc4 ,the general education of the student must on no account be neglected1 in prematurely or unduly developing his talent for 'cello playing4 ,the life of a musician is distinctly social1 and it should be the aim of all aspirants to the title of artist1 to fit themselves for the society into which it is likely their professional duties will take them4 ,it is well known that some people believe that musical talent can only be in a high state of cultivation1 at the expense of every other branch of learning2 the term virtuoso in their estimation being synonymous with ignorance or even vice4 ,others even go so far as to imagine that all great musicians are in a more or less state of imbecility1 and no matter how much they may be encouraged when on the concert platform1 if invited to a private social function would only be tolerated for their musical capabilities4 ,in a great measure this has been caused by some few artists who have thought to add to their popularity by assuming in their demeanour1 eccentricities of the ,paganini type4 ,in these days of much education1 it is almost essential for the violoncellist who hopes for only ordinary success1 especially as a teacher1 to be well grounded in several secondary subjects1 as well as in 'cello playing4 ,besides an ordinary ,english education1 the following are the most important1 ,theory of ,music1 ,musical ,form1 a slight knowledge at least of ,harmony and ,history of ,music1 and for teaching purposes1 if not for his own edification1 a smattering of at least two modern languages1 say ,french and ,german2 even if the instrumentalist only knows the correct pronunciation of musical terms in these and similar languages1 much blundering will be saved4 ,to all this should be added a complete knowledge of the construction of the violoncello1 and also its most well known makers1 together with the period in which they worked4 ,the reader will perhaps be dismayed at so large a list of subjects1 but as it is not necessary to teach every subject of which one knows a little1 sufficient for one's own use may soon be learned1 if a properly regulated course of reading be adopted4 ,to accomplish this1 it is much better to master an elementary work on each subject1 than to skip through a more advanced treatise in an imperfect fashion4 ,messrs4 ,novello1 ,ewer and ,co4 publish some very useful little works on some of the above subjects4 ,there is also a little book on ,theory by ,robt4 ,sutton 7,robert ,cocks and ,co47 which will be found to be very useful for beginners4 ,the above and similar works should be the daily companions of the young student for the first few years of his pupilage4 ,,musical ,,notation4 ,with the help of the theoretical works mentioned previously1 the student will soon learn the various clefs1 key-signatures1 rhythms1 and scale forms1 etc4 ,my remarks will be confined to various peculiarities in the clefs used in 'cello music1 and ,i shall also try to explain away some of the difficulties over which learners generally stumble4 ,the violoncellist ought to be happy in the knowledge that his music is written for him in at least three clefs2 but on the contrary this very abundance1 to many1 is a great annoyance4 ,the fundamental clef in 'cello music is the bass clef ,illustration its range as far as the 'cello is concerned1 if from ,c1 two leger lines below1 which is the ,c open string of the 'cello1 to ,c1 leger line above4 ,however1 for clearness and simplicity in reading1 the range of the bass clef is extended by means of leger lines as far as ,a1 an octave higher than the top line of the clef4 ,the bass clef seems to be the most easily learned1 perhaps because it is generally the first to be tackled1 differing greatly in this respect from the tenor clef1 the latter clef sometimes having a damping influence on the young 'cellist's enthusiasm for a considerable period4 ,the tenor clef ,illustration is generally used for passages on the violoncello1 the range of which does not extend below the open ,d string1 except for an occasional note or two1 and upwards as far as ,c1 or ,d1 above the ,a half-string4 ,this is a very useful clef1 taking1 as it does1 the middle range of the instrument4 ,sometimes whole compositions1 especially if of a cantabile nature1 are written entirely in the tenor1 and ,i am pleased to say that it is now becoming more known1 and is more used by composers than formerly4 ,in passing it is perhaps interesting to observe that the notes in the tenor clef1 are exactly a fifth higher than if written in the corresponding positions in the bass clef4 ,some players use this as a kind of help1 when playing in the tenor clef1 reading the notes as if they were in the bass1 but playing them a string higher2 thus1 a passage commencing on the first line1 tenor clef1 would be read ,g but played open ,d string4 ,these short-cut helps as a rule are not much to be depended upon1 and generally are the result of the inventive faculties which seem to be a special gift to the lazy4 ,each clef should be made to have a separate existence in the mind of the player1 or hesitation and confusion are sure to result4 ,the treble clef ,illustration is also much used in its proper pitch in modern 'cello music2 the old masters instead of writing in the tenor clef1 wrote the high passages in the treble1 the notes to be played an octave lower than represented4 ,in playing from early editions1 the violoncellist must be on the alert for this1 as some of the passages written thus would not sound well even if they could be played in their proper pitch4 ,the student should thoroughly understand the relation of each clef to the great stave2 until he is decided on this simple matter1 he will be much troubled with the relative pitch of the tenor clef1 treble1 etc4 ,the great stave is composed of two sets of five lines each1 with an intermediate line4 ,this intermediate line belongs alike to the treble and the bass clefs1 that is to say1 it forms the leger line below the treble1 and also the leger line above the bass4 ,illustration ,young students generally think that above the bass clef comes the tenor1 higher up still the alto1 and above all2 the treble clef1 whereas all four clefs are part of the great stave4 ,illustration ,as before stated it is usual to carry the bass clef as far up as ,a above three leger lines1 this is really the treble ,a1 and not an octave lower4 ,the following passage will show the necessity for this1 and also the need of an intermediate clef1 between the bass and treble4 ,illustration ,any pianist of ordinary ability would be able to play the above passage at sight1 without the slightest difficulty1 and according to theory it is correctly written4 ,now1 if written for the violoncellist in one stave1 according to the same rules1 it would be extremely difficult to read at sight1 the abrupt changes of clef being very confusing4 ,illustration ,it would be possible to write this passage entirely in the tenor clef1 using only three leger lines above4 ,in certain passages the introduction of the various clefs in rapid succession1 materially assists the player to determine the pitch of the intervals1 as ,illustration ,it will hardly be interesting to the violoncellist to pursue the subject further1 its continuation applying more particularly to composers and music copyists1 than to practical musicians4 ,,chapter ,,iv4 ,,early ,,attempts ,,at ',,cello ,,playing--,,firmness ,,in ,,fingering--,,the ,,left ,,hand--,,correct ,,method ,,of ,,placing ,,the ,,left-,,hand ,,fingers4 ,,early ,,exercises4 ,the first attempts at 'cello playing must be made with long1 smooth bow-strokes1 care being taken to have a nice even tone from heel to point2 great vigilance is here required on the part of the master1 in observing that the motion of the arm and wrist is correct4 ,the pupil must not think that practising these long1 slow bowings is a waste of time1 it is the only way to obtain a good round tone1 and afterwards1 when whole bows are used for a quicker tempo1 a command of the bow4 ,in practising studies in detached crotchets after the style of ,ex4 #a1 ,dotzauer1 op4 #abj1 or ,ex4 #a1 ,schroeder1 op4 #fg1 great firmness is required to stop the bow suddenly at the point2 even pressure must be brought to bear on the bow1 accompanied by great rigidity of the thumb4 ,if the exercises previously mentioned1 and similar studies are practised in this firm1 detached1 manner1 it will prevent that groping for the note1 a bad habit which the young player speedily contracts if not watched4 ,the student being compelled to make a short pause between each note1 will allow time for the hand to move into position1 and the fingers to be firmly placed1 before the bow is again set in motion4 ,,the ,,left ,,hand4 ,to a great extent the work of the left hand is mechanical1 and like everything which is mechanical in true art1 must only occupy a secondary place4 ,this is particularly true about the elements of fingering1 i4e41 placing the fingers on the strings in the proper manner1 fingering the intervals in tune1 etc41 but does not apply to the close shake1 gliding and various vocal effects obtained by changing the fingers on one note1 or playing passages up the strings in various positions1 which might be executed in a more ordinary way4 ,all this is high art1 and helps to reveal the true artist by his manner of introducing the beautiful effects caused by the means previously mentioned4 ,however1 to consider fingering pure and simple1 a 'cello player of the first rank does not constantly think about his fingers1 his mind is occupied with the phrasing and the correct interpretation of the composition4 ,a good knowledge of the fingerboard is best learned at the instrument1 no amount of diagrams or lengthy description of chords in the various positions1 etc41 being of much use in real work4 ,the violoncellist has quite sufficient to think about without carrying diagrams of the positions in his head1 even the old method of pasting such diagrams on the fingerboard of the instrument must be denounced1 as this only causes the student to watch his fingers1 a most objectionable habit4 ,but again1 a good player would be able to instantly place the position of any playable chord on the violoncello1 or would be able to tell the sound effects of any two or more notes played in any position4 ,this knowledge must come with practice1 or it will take no small amount of trouble to make the theory fit the instrument1 especially in quick passages at sight4 ,the only way to obtain this mastery of the fingerboard1 is by always adhering to one way of fingering1 when practising scales and exercises4 ,if a passage of extraordinary difficulty presents itself1 stop and analyse it1 then decide upon some way of fingering4 ,whether the best way will be adopted is another matter1 and a matter in which our first class artists disagree1 but the chief thing is to adhere to the fingering adopted4 ,the fingers must be firmly placed on the strings2 to allow this1 and so that the tips of the fingers are used1 the joints must be bent outwards4 ,this will allow the fingers to fall and rise like little hammers2 and also if properly accomplished1 will cause the strings to pass under the centre of the tip of each finger1 in an almost parallel line with the tip edge of each finger nail4 ,a very important rule1 is to have as many fingers placed on the strings as possible1 thus when playing the fourth finger1 do not have the other three pointing upwards in as many different directions1 they should be placed in semitones on the string1 ready for use if a descending passage happens to follow4 ,in some cases of vibrato1 and always when playing harmonics1 the fingers behind the one used must be kept off the strings2 even then it is advisable to have them only slightly raised1 and bent ready for use4 ,in descending passages as previously hinted1 the fingers must be placed simultaneously on the strings1 the necessary fingers being raised as the passage proceeds2 the student will find it rather difficult at first to place the fingers in tune behind the one actually played1 but constant practice will accomplish this4 ,,chapter ,v4 ,,general ,,remarks ,,on ,,bowing--,a ,,useful ,,method ,,of ,,combining ,,scale ,,practice ,,with ,,the ,,study ,,of ,,various ,,bowings--,,smooth ,,bowings--,,crescendo-- ,,diminuendo--,,the ,,slur4 ,,bowing4 ,the student should always strive to produce a beautiful pleasing tone from his instrument4 ,rapidity of execution can be acquired with downright hard work1 but great skill1 prompted and controlled by a fine sense of tone quality is necessary to obtain a full tone1 without it partaking of a hard1 forced quality1 or accompanied by scraping so pronounced as to be most unpleasant except perhaps to people at a great distance from the player4 ,to acquire this skill1 and also in some measure to educate the ear to the various tone-colour effects which are possible on the violoncello1 much thoughtful practice is necessary4 ,the student must not only know the correct movements which the hand and arm are to make in performing any particular style of bowing1 but with much practice1 he must so develop the muscles of his bow-arm1 that they respond instantly to effect the slightest change in the amount of pressure required for the different degrees of sound-volume1 or for the various parts of the bow used4 ,eventually it will be found that it is possible to produce a complete change in tone-colour1 which will prove a great relief to a continued tone of one character4 ,thus by using a whole length bow1 without any pressure for a note of a certain description1 the quality of tone produced will be far different to that obtained by using half the length of bow1 with pressure applied to make up the sound volume4 ,this and other changes in tone-colour will gradually unfold themselves to the student1 if after thoroughly mastering the correct way of holding the bow1 he practises the following bowings according to the directions given4 ,,various ,,bowings ,,applied ,,to ,,scale ,,practice4 ,it is a mistake for a young player to imagine that after he has once been through the scales with his teacher1 he need never bother himself about them again4 ,when the major and minor scales in three octaves can be played from memory1 it will be found to be of great assistance in keeping the intonation correct in all the keys1 to adopt a system of daily scale practice4 ,the number of scales taken each day must depend upon the amount of time which each student has at command2 it is advisable1 however1 to be content with one kind of bowing each week1 and even longer may be devoted to bowings which are difficult to master1 or in which the student happens to be backward4 ,the advantage of studying the various bowings after this method1 is that the attention of the student1 not being occupied with reading the music1 can be fully directed to the management of the bow4 ,,smooth ,,bowings4 ,illustration3 7,,ex4 #a7 ,the scales in semibreves1 must be played with whole bowings4 ,the student should endeavour to produce a clear1 round tone1 which must be of even volume throughout the whole bow-stroke4 ,to accomplish this1 a correct motion of the arm and wrist is necessary1 the first finger must gradually increase the pressure on the bow as the head is reached1 being again relaxed as the bow is pushed to the heel2 to apply the necessary pressure without causing any inequality in the tone1 is the secret of fine legato playing4 ,to change the stroke of the bow requires the assistance of the wrist and fingers1 thus1 in the down stroke when the bow is within a couple of inches from the head1 the movement of the arm ceases1 the hand moved at the wrist continues the stroke1 and also reverses the bow for the up-stroke4 ,in the up-bow the rounded position of the wrist when the heel is approached1 will not allow of an exactly similar movement2 to accomplish a neat change of bow-stroke at the heel1 it is necessary to let the fingers give slightly1 which allows the bow to be carried forward about an inch1 and the stroke reversed after the arm movement ceases4 ,these slight wrist actions are required to prevent a peculiar kind of scrape being heard1 this sound1 although permissible1 and even necessary in certain kinds of bowing1 is most objectionable in smooth legato playing4 ,to prevent any harshness in the tone1 the pressure on the bow must be nicely regulated at the change of stroke4 ,illustration3 7,,ex4 #b7 ,to be able to produce a fine crescendo is a grand accomplishment4 ,the bow must be lightly placed on the strings at some distance from the bridge2 as the stroke proceeds1 more pressure with the first finger is gradually applied1 the bow is caused to approach the bridge and at the same time is drawn more rapidly4 ,in performing a crescendo passage with the down bow1 the strongest possible pressure must be applied as the bow is drawn to the point4 ,the gradual swelling from piano to forte1 must be accomplished without any break in the tone being perceptible2 a great amount of practice is necessary to give the ability to produce a full round tone at the forte1 without a disagreeable hardness in tone-quality4 ,illustration3 7,,ex4 #c7 ,in a decrescendo the reverse action takes place4 ,the bow is placed very firmly on the strings near the bridge1 great pressure being applied4 ,as the stroke proceeds the pressure is gradually withdrawn1 the bow moves more slowly1 and approaches the fingerboard4 ,illustration3 7,,ex4 #d7 ,the effect of ,ex4 #d is a combination in one bow of the crescendo and decrescendo effects given in bowings #b and #c4 ,the bow must be used very sparingly at the crescendo1 so that sufficient may be left to sustain a bold forte1 for the middle of the semibreve1 and also to allow the tone to be gradually diminished4 ,the student cannot devote too much time to the study of this difficult bowing2 if properly mastered1 great command of the bow1 in a slow bow-stroke1 will have been obtained4 ,illustration3 7,,ex4 #e7 ,scales played with two minims slurred 7,ex4 #e7 should have whole smooth bow-strokes4 ,in approaching an open string1 care should be taken to prevent any break in the bow-stroke1 or any roughness being perceptible4 ,the open string should first be caused to vibrate with the friction of the bow1 the pressure then being applied4 ,equal divisions of the bow are necessary for each minim1 the bow being lightly placed at the heel1 with slightly increasing pressure1 as the point is neared2 this is required to keep the tone-volume equal with that produced at the heel4 ,illustration3 7,,ex4 #f7 ,four crotchets slurred1 are to be played with the same kind of bowing as ,ex4 #e1 but here there are four notes to one bow-stroke4 ,each crotchet should have its full time value allowed1 and the stroke should be equally divided1 so that each note gets about a fourth of the bow4 ,equality of tone1 and smoothness are the chief characteristics of a good performance of this and all similar slurred bowings4 ,there should not be the slightest break between each crotchet1 one note only being left off as the next is sounded4 ,illustration3 7,,ex4 #g7 ,smooth detached crotchets may be played with the upper half of the bow4 ,in this style of detached bowing1 each note must be approached and left without any roughness1 a clear division of the notes being suggested rather than any decided break made4 ,when moving from one position to another1 no gliding is allowed1 each note separate1 but smooth4 ,illustration3 7,,ex4 #h7 ,in ,ex4 #h the whole octave is played with one bow stroke4 ,in scale practice1 it will be advisable for the student at first to repeat the tonic1 so that a proper sense of the correct phrasing is felt1 thus-- ,illustration3 7,,ex4 #h;a7 ,illustration3 7,,ex4 #i7 ,various divisions of slurred quavers may be practised1 where each group contains the same quantity of notes1 the same length of bow-stroke must be given each slur4 ,ex4 #i should be played with the upper third of the bow4 ,the student should not acquire the habit of making the second quaver shorter than the first2 each note must have equal duration4 ,this bowing may also be practised with the middle third of the bow4 ,illustration3 7,,ex4 #aj7 ,where one group contains more notes than another1 it is not always advisable to use the same amount of bow for the smaller slur4 ,to preserve the same tone-quality throughout in ,ex4 #aj1 it should be bowed as follows3--,place the bow on the strings near the heel2 for the first three quavers1 draw it just beyond the middle1 then give the two tied quavers an up-stroke1 using about a third of bow2 for the remaining three quavers1 draw the bow quite to the point4 ,the octave higher commences with an up-bow1 the action being exactly reversed until the heel is reached4 ,illustration3 7,,ex4 #aa7 ,in playing two octaves slurred1 besides observing all that has been written concerning smooth slurred bowings1 the student must be careful to adopt a proper system of phrasing4 ,it is perhaps advisable in scale practice to suggest in the phrasing1 the commencement of another octave4 ,this may be accomplished by dwelling slightly on the leading-note 7in this case ,b71 or by accenting the tonic of the upper octave4 ,whatever method is adopted1 must not be such as to seriously disturb the even run of the semiquavers4 ,illustration3 7,,ex4 #ab7 ,detached quavers should be practised with the upper third of the bow1 in the same manner as the crotchets in ,ex4 #g4 ,the wrist is assisted by the fore-arm4 ,illustration3 7,,ex4 #ac7 ,smooth detached semiquavers should be played with the point of the bow1 using the wrist only4 ,they may also be played with the middle eighth of the bow1 but if a very smooth performance is desired1 it is better to keep near the point4 ,this prevents the bow from getting a springing movement1 and causes the notes to be rubbed out of the instrument4 ,much practice is necessary1 to get the fingers of the left hand to work in sympathy with the movements of the bow4 ,the fingers must be pressed firmly on the strings1 at first the student must exert himself to put forth the necessary pressure1 afterwards1 when the muscles of the fingers are fully developed1 this will be done unconsciously4 ,when playing in the middle of the bow1 care must be taken to prevent any scraping sound being produced by too much pressure on the bow1 or by not regulating the pressure when reversing the bow-stroke4 ,,chapter ,,vi4 ,,bowing ,,continued--,,martel--,,detached ,,stroke--,,mixed ,,bowings--,,the ,,various ,,divisions ,,of ,,the ,,bow4 ,,struck ,,detached ,,bowings4 ,illustration3 7,,ex4 #ad7 ,this style of bowing 7,ex4 #ad7 is known as martel_/sc4 ,it consists of a smart heavy stroke1 with the upper third of the bow4 ,the bow is stopped suddenly at the end of each stroke1 without allowing the pressure of the first finger to relax2 the bow stroke being suddenly checked1 causes the abrupt stoppage of the smartly vibrating string1 and allows a short pause to be made between each note4 ,the effect might be represented thus3 ,illustration3 7,,ex4 #ad;a7 ,illustration3 7,,ex4 #ae7 ,short detached crotchets may be played with the upper half of the bow4 ,the stroke must be made smartly1 without any real gap between the notes4 ,the bow should seem to pass quickly and smoothly over the strings1 the tone being produced by friction1 rather than any pressure which the first finger may exert4 ,the scales in crotchets may be played with martel bowing1 using whole bow-strokes as previously explained in the remarks on early exercises4 ,illustration3 7,,ex4 #af7 ,short detached quavers should be played with the upper third of the bow4 ,there are numerous examples of this kind of bowing in the studies for violoncello1 by ,kummer1 ,dotzauer1 etc4 ,illustration3 7,,ex4 #ag7 ,this is an exceedingly difficult kind of bowing1 but if well executed has a very brilliant effect4 ,to produce the sforzando note with the up stroke1 the bow should be lifted and thrown on the string with force1 care being taken to do this close to the point1 or instead of a sforzando note1 a series of bounces will result4 ,the balance is preserved with the fourth finger1 which also assists in raising the bow from the string for the next sforzando note2 the quaver with the down stroke should be played smartly4 ,it would be unwise to use a gold mounted ,tourte1 in the first attempts at this bowing1 as it is possible to seriously damage the bow if not executed with skill4 ,,mixed ,,bowings4 ,illustration3 7,,ex4 #ah7 ,this bowing is performed by commencing at the middle of the bow2 with a smart1 light stroke1 draw the bow to the point1 the three quavers played very smoothly take the bow back to the middle4 ,illustration3 7,,ex4 #ai7 ,the bowing in ,ex4 #ai has the phrasing just reversed1 this bowing gives a very beautiful effect if nicely executed4 ,for the three tied quavers commence at the middle of the bow1 draw it smoothly to the point1 then relaxing the tension of the muscles in the right hand1 carry the bow smartly over the string1 back to the middle4 ,this light up-bow should be done without any pressure1 and with the bow well under control4 ,illustration3 7,,ex4 #bj7 ,in ,ex4 #bj the first quaver receives a smart down stroke at the point of the bow4 ,the slurred quavers should all be of equal length1 and on no account must the second slurred quaver receive any emphasis4 ,if an accompanying part preserves the original accent1 the effect is very pleasing4 ,illustration3 7,,ex4 #ba7 ,a large variety of mixed bowings may be invented by the student1 after the style of ,ex4 #ba4 ,the chief object in practising such1 should be to obtain a facility in using the various parts of the bow4 ,where groups containing the same quantity of slurred notes are separated by two1 four1 six1 or any even number of detached notes1 the slurred groups are played alternately with a down and an up bow-stroke1 the detached notes being played first at the point1 then at the middle or near the heel 7as in ,ex4 #ba71 according to the length of bow-stroke required for the slur4 ,if the slurs are separated by one1 three1 five or any odd number of detached notes1 the bowing will be so arranged that the slur has always to be taken with the same kind of bow stroke3 to allow this the necessary quantity of bow must be gained on one of the detached notes1 this may be accomplished as in ,ex4 #bb4 ,illustration3 7,,ex4 #bb7 ,the slurs are always taken with a down-stroke1 using the upper third of the bow4 ,the bow should be carried back1 on the first detached quaver1 which being the first note of a triplet1 may be given a slight emphasis2 the two remaining quavers are played with a short wrist movement4 ,illustration3 ,,fig4 #d4 ,before leaving the subject of mixed bowings1 ,i would impress upon the student the necessity for the application of a good division of the bow's length1 so that whatever variety of bowing presents itself1 may be treated with the part of the bow1 and in the manner most capable of producing the finest effects4 ,the student should make a mental division of the bow into thirds1 fourths1 etc41 see ,fig4 #d1 the various divisions being designated as there shown1 such as point fourth1 heel fourth1 upper third1 etc4 ,in the smaller divisions there given1 the wrist may be assisted with a slight movement of the fore-arm1 for purely wrist movements1 a bow-stroke of about a couple of inches may be taken with any part of the bow1 according to the requirements of the particular passage4 ,,chapter ,,vii4 ,,on ,,staccato ,,bowing--,,spiccato--,,slurred ,,springing-,,bow--,,varieties ,,of ,,phrasing ,,occasioned ,,by ,,the ,,portion ,,of ,,bow ,,used--,,sautill--,,dotted ,,notes4 ,,staccato4 ,illustration3 7,,ex4 #bc7 ,the staccato bowing1 if neatly executed1 has a very brilliant effect2 to obtain anything like mastery of it the student must first be careful to see that the bow is held correctly1 and from the commencement1 the bowing must be practised only in the recognised fashion1 and according to the hints here given4 ,if any movements other than those described are allowed1 the student will find that he can never execute this difficult bowing beyond a certain speed1 or if he does flatter himself in to the belief that he has arrived at a brilliant execution of it1 on comparison it will be found that instead of the recognised bowing1 it is one of the various kinds of trick staccato1 often accomplished by a slight tremolo of the fore-arm or some such movement4 ,the chief movement in the staccato bowing is distinctly a wrist-one1 the first finger playing a great part in giving crispness and attack to each note4 ,the initial quaver in ,ex4 #bc1 should receive a smart down-stroke with the upper third of the bow2 as previously explained in the remarks on legato bowing1 the hand carries on the stroke after the fore-arm movement ceases1 causing the hand1 when the bow is at the point1 to be turned away from the player4 ,this should be made the foundation of the staccato stroke4 ,as the arm progresses slowly and steadily along for the up-stroke1 the hand keeps pace by a series of short jerks2 these are purely wrist movements1 not being assisted in any fashion by the arm4 ,it is of the utmost importance to have the hand1 and wrist1 in a proper position at the beginning of the series of up-strokes1 if the hand is already turned inwards1 how will it be possible to execute a wrist movement in the same direction8 ,the first finger should press firmly on the bow as the hand moves for the attack of each note1 this attack if analysed1 will be found to be a modified kind of sforzando on every semiquaver2 the notes are separated by relieving the pressure1 and also by the short pauses between the wrist movements4 ,an explanation concerning the pressure of the first finger is perhaps necessary2 the pressure is not caused by the contraction of the muscles of the first finger1 so much as by the weight caused by an inward turn of the hand1 being brought to bear on the bow through the medium of the first finger4 ,illustration3 7,,ex4 #bd7 ,the first attempts at the staccato bowing may be made on one string1 after the fashion of ,ex4 #bd2 about an inch of bow may be used for each quaver1 taking care to produce the sforzando effect1 which in an attempt at a slow tempo should be more apparent than in a quick staccato run4 ,the bow must not be allowed to leave the string1 the release of pressure only allowing the bow to right itself in preparation for the bite on the next note4 ,after the movements previously explained have been mastered1 there is nothing further required for the production of a good effect in staccato bowing1 except a complete command of the upper-half of the bow1 in the sense of being able to produce a good tone1 without unduly straining or fatiguing the muscles of the hand and fore-arm4 ,the staccato may be played with the down-bow1 the wrist and arm movements being simply the reverse of those in the up-bow4 ,it is better not to commence quite at the heel1 as the tone there1 unless great care and skill be exercised1 is apt to be gritty4 ,it is possible to produce a very pleasing effect on the 'cello with this bowing1 even in fairly quick passages2 the bow should not grip the string too heavily1 nor be allowed to drag1 but should be carried lightly4 ,in slow movements1 a class of phrasing is often introduced1 which although expressed like the staccato1 if executed as such1 would entirely spoil the effect4 ,illustration3 7,,ex4 #be7 ,the four slurred staccato quavers should be played with four down-bow strokes1 using the whole length of the bow1 each quaver receiving about a fourth2 the division between the notes should be very slight1 being caused almost as much by a slight accent on each quaver1 as by the bow being actually stopped4 ,,spiccato1 ,,or ,,springing-,,stroke4 ,illustration3 7,,ex4 #bf7 ,the introduction of the springing-stroke in the interpretation of a composition1 is left almost entirely to the discretion of the performer4 ,it will be observed 7,ex4 #bf71 that the same signs are used for this1 as for short detached solid bowings4 ,although this lack of clearness in our system of musical notation is to be regretted1 one cannot help but think that this very general way of expressing the whole variety of detached staccato bowing1 is really a gain to the artist4 ,what is now admired as originality1 and individuality in reproduction1 would be considered an undue license or lack of skill1 and thus it is1 that out of the very incompleteness in our musical notation1 or in the failure of composers to express the details of phrasing1 etc41 the freedom of interpretation is given1 which allowing of such various treatment1 forms the foundation of the different schools1 or styles in instrumental playing4 ,the springing stroke is suitable for any music of a light1 playful character1 although it should not be continued too long without the introduction of solid bowing as a relief4 ,in practising the scales in quavers 7,ex4 #bf71 the bow actually bounces away from the string between each note1 at the moment the bow is thrown on the string1 the hand should move backwards1 or forwards1 so that sufficient tone may be brought out of the instrument4 ,regarding the latter1 it will be evident to the student1 that the action of the bow falling on the strings cannot alone set them in vibration2 no matter how brilliant is the bowing1 we must have some species of stroke or the result will be minus tone4 ,to allow of the maximum tone being produced which is possible with such a slight bow-stroke1 the hand may droop more than usual1 causing the whole width of the hair to come in contact with the strings1 this will also prevent any jarring sound being occasioned by the wood of the bow4 ,to prevent a very scratchy performance1 the bow strokes should be made exactly at the same part of the strings2 taking care that the bow springs away at right angles4 ,the most useful part of the bow for the slow style of spiccato1 is generally just below the middle2 although for detached notes with long rests between1 or intermixed with left-hand pizzicato1 it may be accomplished with the point4 ,illustration3 7,,ex4 #bg7 ,,slurred ,,springing-,,strokes4 ,slurred spiccato is very useful as a relief to the staccato proper4 ,it is performed after the same style as detached springing-stroke1 except that instead of the bow being reversed at each stroke1 a number of notes are played with the bow springing in one direction4 ,the bow should be given a preliminary bounce by a smart downward turn of the wrist1 then gradually moved forward1 which will cause several detached strokes as the bow falls after each rebound4 ,for long1 quick passages1 it is necessary to commence near the point1 although not so near that instead of the bow springing1 a sforzando is produced2 it is not necessary to assist the bow to spring away from the strings in these quick passages1 after the initial bounce has been given1 the natural spring of the bow asserting itself against the weight of the hand1 being sufficient to allow of twenty or more notes being played4 ,although the slurred spiccato bowing is expressed in the same manner as solid staccato1 the violoncellist will occasionally come across certain passages1 which would lose all their charm if played with solid bowing4 ,ex4 #bh will illustrate this4 ,the semiquaver triplet should be executed with three smart bounces with the up-bow2 then the bow should be controlled1 and lightly drawn for the two tied quavers4 ,the introduction of the two slurred quavers in this passage1 makes it almost compulsory to execute it between the middle and the heel of the bow1 it being possible to check the bouncing better there than if playing near the point4 ,illustration3 7,,ex4 #bh7 ,however1 to illustrate how the 'cellist must be able to appreciate the subtle differences in various manners of phrasing1 or how an artist by a slight liberty1 would transform an awkward bowing into one with more character and force1 we will suppose the above passage written thus3-- ,illustration3 7,,ex4 #bh;a7 ,the semiquaver triplet in this case1 7,ex4 #bh;a71 is executed with springing-bow1 using the upper third2 the bow is then thrown on the string close to the point for the sforzando4 ,in substituting or inventing the manner of bowing any particular passage1 the violoncellist should always take into consideration the character of the composition being performed1 not being above considering the generally acknowledged manner of interpreting the works of well known composers4 ,the introduction of any exaggeration in accent1 etc41 whilst being perfectly admissable in performing compositions by ,brahms1 ,schumann1 or ,dvorak1 would most probably be out of place1 if introduced in similar works by ,mendelssohn or ,beethoven4 ,,sautill4 ,illustration3 7,,ex4 #bi7 ,although this bowing is often called ,spiccato1 ,springing-stroke1 ,dancing-bow1 etc41 etc41 it must not on any consideration be confused with the bowing previously described as such1 that is the springing-bow applied to passages at only a moderate tempo2 the method of production and the effect of these two bowings are entirely different1 the sautill1 varying from the heavier class of springing-stroke1 in not being produced by any studied action of the right-hand1 wrist1 or fingers4 ,the work of the fingers in executing this bowing1 is merely passive1 except perhaps the first finger1 which assists in giving the go to the bow4 ,no pressure is required2 the tone seems to be pulled out of the instrument by the bite of the hair on the strings1 the springing movement being caused solely by the elasticity of the bow4 ,the scales may be practised as ,ex4 #bi1 first in smooth semiquavers at the middle of the bow1 using about an inch of bow1 and without any pressure being applied4 ,the scales should be worked up to a very high rate of speed2 when this is accomplished1 the student will find that unless he prevents the bow from springing1 it will commence a kind of dancing movement1 although it hardly seems as if the bow leaves the strings4 ,the student will easily recognise the bowing when he has accomplished it1 by the distinct picked out character of the notes4 ,most amateurs who fail to acquire this bowing1 may blame their misfortune either to gripping the bow too firmly1 thus not allowing the wrist and fingers sufficient play1 or being weary in well doing with respect to practice4 ,modern compositions for violoncello abound with this bowing1 fine examples may be found in ,am ,springbrunnen1 ,davidoff2 ,papillon1 ,elfentanz1 etc41 etc41 by ,popper1 last movement ,military ,concerto1 and other solos by ,servais2 in fact nearly all modern player-writers1 have composed works which introduce this fairy-like bowing4 ,,dotted ,,notes4 ,illustration3 7,,ex4 #cj7 ,the rhythm given in ,ex4 #cj1 is frequently met with in almost every class of instrumental music4 ,it may be bowed in four distinctly different ways4 ,the way mostly adopted1 especially in chamber1 or orchestral music1 where occasionally whole sections of a work have accompaniments for the strings in this rhythm1 is to tie the two notes in one bow as marked in ,ex4 #cj1 this is done1 even if no bowing marks whatever are given in the parts4 ,the upper half of the bow may be used1 the bow being almost drawn to the point1 then suddenly stopped to allow the semiquaver to have a distinct stroke1 for the latter1 using about a couple of inches of bow with a wrist movement only4 ,illustration3 7,,ex4 #cj;a b7 ,in solo pieces1 and occasional passages in chamber-music1 this rhythm may be given one bow-stroke to each note4 ,however1 the effect although pleasing1 is so assertive especially if executed in a very broad1 heavy fashion1 that the listener becomes tired before many bars have been played4 ,this bad effect is not quite so evident if the bowing is executed in a light1 playful manner1 the very nature of the rhythm is of a gay1 frolicsome character1 especially in a moderately quick tempo1 therefore a dull1 solid performance is entirely out of place4 ,in practising the bowing at ,ex4 #cj;,a1 more than a third part of the bow must not be used1 and slightly less for a quicker tempo4 ,the semiquaver must have the same length of bow-stroke as the dotted quaver2 therefore the bow must move more slowly1 and receive more pressure for the down-stroke than for the light up-stroke2 for the latter1 the bow is carried lightly over the string1 with the pressure relieved4 ,the bowing may also be reversed as in ,ex4 #cj;,b1 here the longer note is played with an up bow-stroke1 the semiquaver receiving a smart1 light1 down bow4 ,another method of bowing may also be occasionally used1 although when compared with any of the foregoing1 it will perhaps be regarded as a trifle commonplace4 ,the bow is placed on the strings at the heel2 the first dotted quaver receives a down stroke with the heel fourth1 the semiquaver being played with an up-bow1 using about an eighth of bow2 the next dotted quaver again receives a down-stroke with a fourth2 thus gaining an eighth at each dotted note1 the bow gradually travels to the point4 ,the up-bow may also be used in like manner1 commencing at the point and finishing near the heel1 the movements being reversed4 ,this method of bowing will be found useful for special passages which have to be executed in a quiet manner1 or where the change in bowing thus occasioned is necessary4 ,,chapter ,,viii4 ,,on ,,the ,,positions--,,the ,,individual ,,requirements ,,of ,,orchestral ,,player ,,and ,,soloist--,,the ,,necessity ,,of ,,stretching ,,for ,,the ,,intervals--,,the ,,locality ,,of ,,the ,,neck ,,positions--,,the ,,enharmonic ,,difference ,,of ,,sharp ,,and ,,flat ,,keys--,,absolute ,,pitch--,,how ,,to ,,leap ,,any ,,awkward ,,interval--,,the ,,positions ,,not ,,determined ,,by ,,mathematical ,,rules1 ,,but ,,by ,,the ,,ear--,,shifting--,,economy ,,of ,,motion versus ,,effect--,,choice ,,of ,,positions4 ,,positions1 ,,shifting1 ,,etc4 ,although learning the various positions used in violoncello playing is neither so interesting a study nor so quickly mastered as are a few of the seemingly more difficult styles of bowing1 a thorough practical knowledge of them is absolutely necessary both for orchestral and solo work4 ,it is interesting to note1 however1 that extraordinary ability in any one direction is generally obtained at the expense of the other branch of 'cello playing4 ,a long experienced orchestral player1 although having a complete mastery of the fingerboard1 in the matter of being able to play almost any composition at sight1 seldom possesses that perfection in bowing requisite for a successful soloist4 ,the chief matters for special attention in the orchestra are time and tune1 together with the ordinary light and shade effects2 and considering the numerous compositions which the orchestral violoncellist must go through in one short season only1 it is not to be expected that any great attention can be devoted to the perfection of bowing2 or at least to such brilliant bowings as the staccato1 and various spiccato effects1 which are only heard to advantage when each instrument may be heard individually4 ,the exceptions to this rule1 are orchestral players who combine with their orchestral work1 much practice in chamber music or solos4 ,the same law is in effect with any who excel greatly as soloists2 the solo player may have a greater command of the positions in a mechanical sense than has the orchestral player1 but it is seldom he reads so well at sight4 ,the very system of working up to perfection1 and memorizing a certain number of compositions1 is detrimental to good reading2 in fact it may be safely said that the more an artist plays by ear the less able will he be to read at sight4 ,i should think such artists as ,piatti1 ,lady ,hall1 ,joachim1 however1 are notable exceptions1--not to the rule1 but to great solo players being poor sight readers1 but these artists have always combined much quartet playing with their solo work4 ,the special requirements in respect to positions1 of each class of violoncellist1 may be stated as follows2 the soloist to be successful requires a complete mastery of the practical or mechanical part of playing perfectly in tune1 and a perfect command of shifting from one position to another4 ,the orchestral player requires the ability to quickly divine the most suitable positions in which to play any given passage1 when seen expressed in musical notation4 ,the successful quartet player must possess to a certain degree1 the abilities of both classes4 ,whatever class of work the student intends to fit himself for1 he must gain a knowledge of the positions in a practical manner1 i4e41 with the instrument in hand4 ,theory by itself is of no use1 the player may know that a certain note will be produced if a given string be stopped in a certain place1 but if he is unable to perform the mechanical part1 and by exactly gauging the distance to be leaped1 stop the note perfectly in tune1 the knowledge stands for nothing4 ,each position should have separate attention1 and the notes obtainable thoroughly mastered both theoretically and practically before another position is attempted4 ,the position most easily learned is the first position 7first finger on ,b a whole tone above the open ,a string71 and as this is in a sense the normal position in 'cello playing1 and for ordinary work the most useful owing to its relation to the four open strings1 the hand of the student should be allowed to become thoroughly set to this position1 and facility obtained in stretching the various intervals1 before attempting to shift4 ,from the commencement1 the student should compel himself to stretch for the intervals when necessary1 and not contract the bad habit of using the thumb as a kind of pivot1 on which the hand is moved backwards and forwards1 the thumb remaining in the same position4 ,if the student once gets into this habit1 his hope of ever playing perfectly in tune1 especially in rapidly descending passages1 must be abandoned2 it is a bad habit1 however1 which nearly every learner will contract unless strictly watched2 and when pupils who have had previous instruction come to me for lessons1 ,i generally have to commence with a series of finger exercises composed expressly for its correction4 ,the player will find that after a few years of 'cello playing1 if the correct system of fingering has been adopted1 the bones of the hand 7metacarpal7 seem to get quite loose1 and are under the control of the muscles1 so that when the fingers are stretched for a wide interval1 they are assisted by the hand-bones1 which move direct from the wrist1 almost like the action of the metacarpal bone connected with the thumb1 only of course in a much smaller degree4 ,this gives a greater width of the hand1 measuring across the knuckles1 and it is with this capacity that ease in stretching the intervals is arrived at1 and not with long fingers1 as some are apt to imagine4 ,fingers of more than ordinary length are of no special assistance in 'cello playing1 if they are so firmly bound together at the knuckles as to hamper free movement from side to side2 this is one of the chief reasons why it would be so difficult to master a stringed instrument1 if maturity should be reached before commencing to learn4 ,besides the bones of the hand getting gradually bound together with the surrounding muscles and ligaments1 if not kept in constant use2 the tendons which are plainly discernable at the back of the hand seem to lose individuality1 thus we see some aged people who are unable to move any one finger independently to the others4 ,the player must grow to his instrument1 and it is wonderful what change does take place in this respect1 the whole character of the hand being altered2 this has to come about before anything like command of the instrument can be expected4 ,as a ready way of describing the locality of the various neck positions1 the names of the notes stopped by the first finger on the ,a string will be given only4 ,in these neck positions1 the thumb remains behind the neck of the instrument1 retaining as far as possible the same relationship to the hand as in the first position1 already explained4 ,for the half-position1 or what is generally known as the back-shift1 the hand should move backwards from the first position the distance of half a tone1 the first finger will then stop ,a or ,b4 ,when playing in extreme keys1 this half position is very useful1 especially when the notes of all the four open strings have to be played sharp4 ,the distance of the second position from the first is only a semitone1 the first finger stopping ,c4 ,this position also bears a raised position1 sometimes named the second-and-a-half position2 although it is easier to designate it the second raised1 or if in flat keys the third lowered position4 ,for this position1 the whole hand moves forward from the second position1 until the first finger stops ,c or ,d4 ,the third position is distant a tone and a half from the first position1 the first finger stopping ,d4 ,the second and third positions are perhaps not so readily mastered as are the first and fourth1 or perhaps even the higher positions2 for this reason they should be all the more perseveringly practised4 ,not only should the notes which are obtainable in the second and third positions have special attention1 the student should practise various leaps from any of the other positions1 until he has their exact locality firmly fixed4 ,when playing in the fourth position1 the first finger stops ,e1 the hand should be allowed to rest on the ribs of the instrument1 this will assist the student in placing the locality of this position4 ,the fourth position bears a lowered1 but not a raised position1 as there is only a semitone between ,e and ,f4 ,the fourth lowered position is identical with the third raised position1 the first finger stopping ,e for the former1 and ,d for the latter form4 ,the fifth position therefore is a semitone higher than the fourth1 the first finger stopping ,f4 ,from the fifth position upwards to the seventh1 the thumb is allowed to gradually leave its position behind the neck1 until for the seventh position it only touches the side of the lower portion1 almost where the neck joins the body of the instrument4 ,however1 the thumb should retain its touch1 so that the hand may quickly assume the necessary attitude for the lower positions when required4 ,for the fifth raised position the first finger stops ,f4 ,in the sixth position1 the first finger stops ,g4 ,the fingers are now in advance of the thumb1 also the student will observe that in these higher positions1 the distance between the notes gradually grow smaller4 ,it is now possible to stop three notes separated by intervals of whole tones 7major #bnds71 with the first1 second1 and third fingers1 and not as in the first position1 compulsory to use four fingers to stop three notes4 ,the sixth raised position is taken with the first finger on ,g4 ,the seventh position is the highest neck position practicable1 the first finger stopping ,a4 ,to sum up1 we find that there are seven ordinary neck positions1 the fundamental notes of which on the ,a string1 are directly related to the diatonic scale of ,c4 ,also there are six half-positions1 each position bearing a raised form1 except where the fundamental note of two positions is only separated by a semitone4 ,this occurs in two instances1 i4e41 between the leading-note and tonic of the ,c scale 7first and second position71 and between the mediant and sub-dominant 7fourth and fifth positions74 ,these five raised positions1 together with the backshift1 gives us the six4 ,together with this1 each position bears a normal1 and a stretched form1 for the former in the lower positions1 the fingers are allowed to fall naturally at the distance of a semitone apart2 for the latter the thumb 7behind the neck of course71 and one or more fingers remain in the position1 the first finger being stretched backwards1 or the third or fourth fingers stretched forwards1 or both4 99 99 99 99 99 ,i am aware that some theorists may object to the method of assigning the same position to say ,b and ,a1 on the principle that ,b is lower in pitch than ,a4 ,however1 if the matter is thoroughly looked into1 we shall find that the system of portioning out the fingerboard with mathematical exactness1 and giving to the various groups the names of positions1 is really under the control of another system4 ,this system1 which is found to be the chief factor both in singing in tune1 and in giving the stringed instrumentalist the power of playing in tune1 for want of a more comprehensive title might be named relative pitch4 ,the student if sufficiently advanced may easily prove this to himself in the following manner4 ,reverse the usual position of the instrument1 that is1 instead of having the fingerboard turned away1 place the 'cello in such a position that the whole length of the fingerboard may be viewed from before4 ,now endeavour to point out the position of any given note1 it will be found that an entirely wrong conception has been formed of the distance between the intervals1 and it will be almost impossible to place the exact position1 where any isolated note could be sounded exactly in tune4 ,perhaps more success will be experienced in placing the position of a few of the easier divisions of the string1 like the harmonic at the half-string1 but strange as it may appear1 the attempts to point out the exact positions of notes even in the first position1 will1 in nearly every case1 be complete failures4 ,if the reader has had much experience in teaching the 'cello1 and has become accustomed to judge the distance of notes by eye measurement1 he must be considered an exception to the above4 ,this proves to us then that the eye has1 or should have1 nothing to do with gauging the distances to be leaped1 or stretched1 for the various intervals4 ,it is here that a wonderful faculty is found to exist in the trained violoncellist2 this faculty is obtained by the wonderful connection between the fingers and arm movement1 and the ear1 or more correctly1 the brain4 ,at first sight it appears very wonderful how any given interval between two sounds may be reduced down to measurement1 and have its tonal character represented by a physical movement1 but with long practice the movements of the arm and fingers become so perfectly under control1 and work in such sympathy with the brain1 that the act of conceiving the character of an interval1 and its production1 seems almost to be accomplished by the same brain action4 ,this applies only to the production of one note in relation to another1 or to the position of a note in relation to a fixed position1 and not to isolated notes4 ,how then is the 'cellist to establish the pitch1 and decide the position of an isolated note1 if in such a high position that no guide is given to the hand1 such as is noticed in positions like the fourth8 ,although pursuing this subject has the appearance of leading us away from the chief matter of the present chapter1 it is of such importance to the instrumentalist to know exactly how to obtain any isolated note1 and as it is so much more easily explained at the present stage1 it will be better to consider it straight away4 ,the brain must have some basis whereon to build up an expectation relative to any isolated sound4 ,thus1 if a solitary note is represented on the music page1 say ,e1 the brain not having any fixed sound whereby to place the tonality of ,e1 no expectation is raised as to its probable pitch2 to bring this to practice4 ,a pianist striking the one note ,e1 on the piano1 would feel quite satisfied with the pitch of the sound produced1 whether the piano should happen to be tuned a quarter of a tone either below1 or above concert pitch4 ,this statement is open to challenge by the upholders of the theory of absolute pitch2 ,i am well aware that a few musicians have this gift of absolute pitch1 and perhaps a greater number still1 from long practice with one fixed sound--like the singing master with his ,c tuning fork--are able to guess the pitch of that one sound with moderate success1 but for a musician to have the pitch of all the range of sounds so thoroughly established1 as to feel a sense of disappointment if an isolated note was sounded either slightly above1 or below concert pitch1 is almost an impossibility1 if such an one does exist he must be considered an exception to the above4 ,it may be accepted as the general rule1 that until one note is heard1 no expectation is raised as to any given note4 ,the 'cellist1 therefore1 not having any fixed notes like the pianist1 would be completely at sea1 especially if a composition should commence on a note in rather an awkward position1 say on the ,e above the ,a half string4 ,if an introduction in the accompaniment preceded1 the 'cellist would be able to tell after the ,e was sounded1 whether he had happened to hit on the right position1 but it would hardly be edifying to the audience to commence the note slightly out of tune1 and shuffle to the correct pitch1 after the accompanying chords were struck1 nor would they appreciate a series of introductory grace notes leading to the required position4 ,it is here that the faculty of gauging the distance of a known interval1 taking the required note by a leap from some equally well known position1 is brought into force4 ,if the 'cellist has just previously tuned his instrument1 the sounds of the open strings will be still fresh in his mind1 dispensing with ,a1 ,d and ,g1 the ,c being the nearest related to ,e will be immediately seized upon1 and a conception of the interval to be leaped 7a minor third above the third octave71 will be firmly established4 ,after this the process is chiefly mechanical1 the move may be made from any position the exact locality of which the student is thoroughly acquainted with1 exactly as if leaping from a note in that position to the required ,e1 as-- ,illustration3 ,,ex4 #ca 7,the bow not to touch the strings until the ,e is firmly stopped with the third finger1 the grace notes merely show from which position the leap is made47 ,the student should carry out this principle for all difficult leaps1 and not seek for the position by gliding up1 or down to it4 ,however to return to our sheep1 this system of relative pitch affects the performance of flat and sharp keys in the following way1 as an illustration the different manner in which ,b and ,a is treated1 although both being in the back-shift1 or half position1 will be demonstrated4 ,illustration3 ,,ex4 #cb ,in the first bar of ,goltermann's ,cantilena 7,example #cb71 the first finger is on ,a in the back position1 the character of the accidental following the ,b is such1 that the musician seems almost compelled to sound this note as near the ,b as possible4 ,it would irritate a musician with a well trained ear1 to have anything but the smallest interval between the two notes1 he will therefore quite unconsciously make the ,a as sharp as possible1 which conclusively proves that there is not any necessity for forming two positions for these enharmonic differences4 ,illustration3 ,,ex4 #cc ,here we have a different idea of the ,b--the equivalent to ,a4 ,the progression from ,c to ,b 7,example #cc71 instead of giving one the idea that the ,b should be drawn to the ,c1 has the opposite effect2 a sense of satisfaction is only felt1 when the largest possible interval between two tones is made between the super-tonic and tonic4 ,with the second ,b1 the feeling is to glide quietly off the leading note on to the tonic1 making the least possible interval4 ,thus the ,b is pushed down by the ,c1 and again drawn down by the ,a1 making it impossible with any sense of satisfaction to play it in anything but its flattest form4 ,all this will be evident to the cultured musician1 to whom these remarks may appear somewhat superfluous2 but to the learner1 who has not arrived at that stage of ear perfection1 when the half-flat1 half-natural style of playing flattened notes is a positive annoyance1 the hints may be of service in teaching him that anything short of absolute correctness with respect to playing in tune is not to be tolerated4 ,with respect to the choice of positions1 so many things are to be taken into consideration that only general hints may be given4 ,the golden rule is--,never move into a more remote position than is absolutely necessary4 ,in slow expressive passages1 everything must give way to allow of correct phrasing2 thus to preserve a uniform quality of tone throughout a particular phrase1 it will sometimes be necessary to work along one of the lower strings up to the sixth or seventh positions1 in preference to using the next higher string4 ,in orchestral work1 and generally in quick movements1 the chief matter to consider1 as previously stated1 is economy of motion1 but even in quick movements effect1 which may be considered the counterpart of the generally accepted term of expression1 has also to be taken into account4 ,occasionally a kind of verve or vigour1 or sometimes a certain daintiness in effect is produced1 if instead of playing a passage in the quietest way1 it is taken along the string4 ,a striking example of this may be seen in the first movement of the ,goltermann concerto in ,d1 op4 #ajj4 ,illustration3 ,,ex4 #cd ,it would be possible to play this passage across the strings without having to move out of position1 however the effect is much heightened when played as fingered above 7,ex4 #cd7 the whole effect being augmented by the octave passage which follows1 gradually working upwards until the climax is reached on the high ,e harmonic4 ,there is yet another matter which ,i am well aware in really high art should not find a place3 that is the manner in which a complete mastery over seen difficulties affects an audience4 ,we are told that musicians should reach their audiences through the ear and not the eye1 but when one considers the numerous class of compositions which have been written solely to display the brilliant technique of the soloist1 or to show the possibilities of the violoncello as a solo instrument1 and that many of these works are written by really great composers1 the fact is forced to be acknowledged that this phase of our subject must be considered4 ,it will be found that many passages in such compositions are1 when analyzed1 found to be quite worthless in a musical sense1 the only excuse for their introduction being that they offer a good chance for the player to display some brilliant feats in bowing or fingering4 ,therefore in playing pieces of this description1 it would not be wise to sacrifice brilliance1 for the sake of an easier and consequently a quieter method of fingering4 ,from the foregoing remarks it will be gathered that various matters must be taken into consideration1 especially by the soloist1 when finally deciding in which positions to play any composition4 ,the mechanical difficulties which are patent to the violoncello1 must not be allowed to interfere with the phrasing of a melody1 or with the musical significance of an idea4 ,nor in the other direction1 the violoncellist must not overload any passage with effects1 simply because the 'cello happens to be especially adapted for such1 without any real warrant that such graces or additions are intended4 ,this applies particularly to the introduction of the glide1 which will be next treated4 ,,chapter ,,ix4 ,,portamento--,,the ,,various ,,uses ,,of ,,gliding--,,some ,,exaggerations ,,exposed--,,how ,,to ,,leap ,,great ,,intervals ,,without ,,howling--,,combination ,,of ,,glissando ,,and ,,sforzando4 ,,portamento4 ,the subject of gliding1 although referring more directly to phrasing1 is so nearly connected with shifting and the choice of positions that one is insensibly led into its treatment4 ,a melody should never depend on the characteristics of an instrument for its effectiveness1 although much individual charm is given to a composition by such characteristics being allowed to assert themselves without spoiling the intentions of the composer4 ,thus the phrasing should never be marred just because it is convenient or inconvenient to introduce that connecting link1 the glide4 ,i shall in this chapter endeavour to explain a few of the many methods of gliding1 and the reasons why one method is used in preference to another2 their practical application will be learned1 partly from a knowledge of phraseology and musical form1 and also from experience4 ,the human voice is supposed to be the most perfect musical instrument--if one may so term it2 all instruments which are made by man having in comparison some imperfection4 ,thus1 it is impossible on the pianoforte to commence a sustained note piano and gradually swell out to forte1 nor is it possible to glide one note into another1 although much may be done in this direction by causing the note to sing in such a manner1 that one note seems to be sustained until the next has been tenderly approached4 ,each note has to remain fixed as far as pitch is concerned1 the idea of gliding only applying to the thickness of the tone being varied when quitting one note and approaching the next4 ,the latter remarks apply also to wind instruments4 ,no matter how small is the break between two notes1 or in what manner art is introduced to conceal or in any other way attempt to make up for this deficiency1 it is yet there1 and to a great extent must influence the interpretation of a composition4 ,the violoncello resembles the human voice perhaps more than any other instrument4 ,the character of the tone in certain portions of its register is very similar to that of the human voice1 and without going too far1 it may be said that it is possible to produce nearly all the varied effects of articulation of which the voice is capable1 except actually speaking4 ,thus the variation in tone which singers produce by a clever management of the breath1 the glide when two notes are sung to a vowel sound1 the hard sound of an initial consonant1 the vibrato1 and numerous other effects are all possible on this most human instrument4 ,however1 as far as gliding is concerned1 the 'cello has a big range1 and far more is expected from the instrumentalist1 in the way of leaping to and from notes at extreme distances1 than is ever expected from a single voice4 ,the vocalist performs similar skips by an unconscious1 and to a certain extent1 involuntary contraction of the various small and delicate muscles in the larynx4 ,the 'cellist has sometimes to make a sweep of the whole length of the fingerboard1 or to break the flow of the melody by leaping over one or more strings4 ,this then will show the imperfections of even the most perfect instrument made by man when compared with the voice2 the 'cellist must endeavour by the aid of art to overcome1 or conceal1 the bad effects which may be caused by the mechanical difficulties of his instrument1 and taking the voice as an example endeavour to interpret a composition in the same manner as would a good vocalist1 imitating as closely and truthfully as possible the phrasing and the various effects which one observes in singing4 ,some professors of the strictly classical school condemn all gliding as faulty2 the finest of these players are noted for their perfect intonation1 but are also noted for their lack of sentiment4 ,any exaggeration in the opposite direction1 however1 tends to undue sentimentality1 and to an unprepared audience will have most disastrous results4 ,it is well known that the player may so accustom himself to glide on to the notes1 that any amount of exaggeration in this respect seems quite right4 ,the player should regulate his performance according to the manner in which the absence1 or too great a prominence1 of the glide in the playing of others affects him2 this is the only safe way to judge1 as the effect on the listener is always more pronounced than on the player4 ,in almost every melody there are places where every musician feels compelled to dwell on the interval between two notes1 sustaining the one note1 and retaining the advent of the other2 this expressive kind of glissando1 besides being the most pronounced in its effect1 is consequently the most objectionable if incorrectly used4 ,on the violoncello it is produced by playing two notes with the same finger1 gliding slowly from one position to the other4 ,this glide must never be used to connect two notes which are separated by a large interval1 as a most unpleasant howling will be occasioned2 the only places where it may be introduced are at a cadence1 or at the full close of a musical composition1 where the terminal note of the phrase is reached by a descending passage1 and then it must only be taken on an interval composed of not more than one or two whole tones at the most4 ,vocalists generally make the most of this glide to sustain a passionate delivery at the close of a vocal piece1 and indeed it has a very disturbing effect on the listener4 ,this effect may be described as being occasioned in the following manner2 in accordance with the musical structure of the composition1 the listener expects a certain note to be sounded1 thus when the close of a composition is being approached1 the listener naturally expects the tonic 7key-note74 ,naturally therefore1 anything which delays the tonic--whether it be a slight ritard1 a sustained trill1 or the seeming unwillingness of the player to quit the note preceding the tonic1 although having an exciting influence over the listener1 makes the appearance of the final note more acceptable and the consequent rest and satisfaction more complete4 ,i must here caution the reader against gliding to the tonic from the leading-note1 that is unless the identity of the tone is afterwards firmly established by being played again on an accented part of the bar4 ,if the examples here given 7,ex4 #ce7 are studied1 it will be seen that in each case the terminal note of the phrase thoroughly establishes itself on the ear by being twice sounded1 first on an unaccented beat1 then on the strongly marked portion of the bar4 ,the ear requires this to give it the necessary assurance of the identity of the tonic4 ,in ascending passages the approach to the tonic from the leading-note is by so small an interval 7half-tone71 that the arrival at the close must always be distinct1 the introduction of the glide on so small an interval1 would give the appearance of the tonic being played out of tune4 ,illustration ,illustration3 ,,ex4 #ce ,the glide in each case 7,ex4 #ce7 is made on the two notes connected with a slur4 ,the glide of next importance is generally introduced in imitation of that produced by vocalists when two notes are taken on a vowel sound2 the only difference to be observed by the 'cellist is that the interval1 and consequently the glide1 must not be so strongly marked4 ,the same method of fingering as that given for the gliding previously explained may be used1 but as this glide is sometimes taken on notes at extreme distances1 the bow must be nicely managed1 and the shifting done firmly and rapidly so that any unpleasant howling is not too much in evidence4 ,the introduction of this gliding is really a matter of taste1 the only uses with which it can be credited in instrumental music1 are to lend a certain amount of tenderness to a melody1 and also to connect any wide intervals or isolated notes1 which otherwise would spoil the phrasing4 ,the two foregoing methods of glissando may be termed the only styles of gliding which are introduced solely for effect in an active sense1 the remaining styles of gliding are merely passive in their nature1 and are introduced to cover the defects of the instrument1 in the way of bridging over any awkward leaps caused by the necessary length of string to be covered4 ,before proceeding1 ,i would here caution the student against blindly following all the exaggerations in which even our best vocalists occasionally indulge4 ,a short time ago ,i heard a well known tenor sing the song ,annie ,laurie1 the last line of which was given after this fashion4 ,illustration3 ,,ex4 #cf ,the glide to and from the top ,f was quite correct1 and indeed very expressive1 the objectionable part being the manner of dividing each word1 and even introducing another syllable so that the following note may be anticipated4 ,however by these exaggerations the singer succeeded in bringing down the house1 so ,i suppose he was satisfied4 ,this is almost akin to the method adopted by some instrumentalists to heighten the effect in a passage made up of detached notes4 ,instead of changing the bow-stroke at the moment the leap is made1 during a slight break between the notes1 the method is to change the bow-stroke before the first note is quitted1 then glide rapidly to the next note1 at the same time producing a sforzando2 the effect is seen in ,ex4 #cg4 ,illustration3 ,,ex4 #cg ,i mention this solely to caution young players against unconsciously forming a habit which is at once incorrect and vulgar1 and although players of the first rank in the height of their passion may sometimes employ this artifice to more fully express their feelings1 it would be unwise for one of lesser musical standing to attempt that which great artists only employ on sufferance4 ,the most ingenious method adopted by stringed instrument players to cover a great expanse of string1 without either chopping up the phrase or giving too much prominence to the glide1 was1 ,i believe1 first given by ,spohr2 it may be explained as follows4 ,in an ascending passage1 the player must always have at liberty one of the fingers to stop a higher note than that produced by the gliding finger1 so that the gliding has not to cover the whole distance of the interval 7see ,ex4 #ch74 ,in descending passages the reverse takes place1 the glide being executed with the third or fourth finger1 the first or second fingers being retained to stop the lower note on the arrival of the hand in position4 ,illustration3 ,,ex4 #ch4 ,the grace notes in the above examples must not on any account be heard4 ,to prevent any possibility of this1 the finger stopping the second note must be firmly placed almost before the gliding has ceased1 the introduction of the grace notes in the above examples being merely to illustrate the method of carrying the glide up to the necessary position1 then firmly stopping the required note4 ,other methods of gliding have to be invented for special passages1 or for the production of extraordinary effects4 ,one of the most surprising effects is to combine the sforzando with a strongly marked glide1 the sforzando being given on the second note of the slur1 and the glide being of the most pronounced type4 ,i have heard our great violinist1 ,john ,dunn1 occasionally give vent to his feelings in a slightly exaggerated glide and sforzando combination of this description1 and for waking up a sleepy or apathetic audience1 ,i can strongly recommend it4 ,beyond all these hints1 and far removed from any explanation1 there remains that delicacy of feeling which the artist alone can introduce into his playing--that subtle management of bow and fingers1 so necessary to really fine playing4 ,even in the matter of gliding this is easily recognised2 the varying speed at which the glide is taken1 the pressure put on the strings or otherwise1 accenting the commencement of the glide and lightly approaching the second note1 or lightly gliding off the first note and strongly accenting the arrival at the second2 the varying pressure brought to bear on the bow1 etc41 etc4 ,all this must come from natural feeling1 and cannot be taught1 no matter how clever the teacher or how willing the pupil4 ,,chapter ,x4 ,,double-,,stopping--,,useful ,,in ,,developing ,,the ,,hand--,,how ,,to ,,determine ,,the ,,fingering ,,of ,,various ,,intervals--,,gliding ,,in ,,double-,,stops--,,chords--,a ,,correct ,,manner ,,of ,,playing ,,chords4 ,,double-,,stopping4 ,in consequence of the great distances which separate the notes in the neck positions on the violoncello1 nothing very extraordinary is written1 or is expected in the matter of double-stopping4 ,however as a training for the left-hand1 there is nothing to equal a series of well planned studies in double-stopping2 by practising such1 the student obtains a command of the various stretches necessary for a correct use of the fingers of the left hand4 ,dotzauer1 in his famous studies1 seems to have recognized this1 and by the regular1 systematical introduction of double-stopping exercises of varying and increasing difficulty1 almost compels the absolute development of the left hand4 ,in practising double-stops1 the student must always be careful to cause equal pressure to be applied by the bow to both strings1 so that each note of the chord is distinctly heard4 ,some young players on the other hand1 instead of requiring to be urged to do this1 are unable to give two strings a continued even vibration1 without expending an undue amount of force1 but this is really so elementary a matter that a little practice on the open strings 7sounding them in twos7 should easily set right4 ,beyond this the player should have all the varieties of light and shade just as much at command in the bowing of double-stops1 as in playing single notes4 ,with respect to the left hand1 the chief difficulty which first assails the student is that of judging the character of the intervals1 and for their production--in knowing exactly in what form the hand should be2 thus in certain chords the hand has to assume its most stretched form1 for others the normal1 or closed positions of the fingers are necessary4 ,this knowledge is really of great importance2 both notes of a chord must be sounded simultaneously1 therefore even before the chord is approached1 the player must be conscious of the form1 as well as the position in which the hand has to be1 in order to play any combination of notes4 ,a few of the easier chords in double-stops may readily be learned in the following fashion3 ,taking the fifth as the basis1 it will be evident that if any finger be placed horizontally across two strings1 in any part of the instrument1 a perfect fifth will be produced4 ,to accomplish this the student will have to depart from the rule respecting the stopping of notes with the tips of the fingers1 as it is impossible to produce a fifth except with flat fingering1 or of course the open strings4 ,from this it will be an easy matter to settle the fingering of a major sixth2 in the first position1 a major sixth may be produced by using a lower open string1 and the first finger on a higher string1 thus in any position the fingering of major sixths is obtained on the same principle1 viz41 the higher note is fingered a whole tone in advance of the lower4 ,the same method may be taken to obtain the fingering of a perfect fourth4 ,in the first position1 using the open string1 a fourth in double-stops is produced with the open string for the higher note1 and the first finger on the next lower string for the lower note2 here the lower note is fingered as far as position is concerned a whole tone in advance of the higher note4 ,major thirds in the neck positions1 have to be played with the set fingering of fourth and first2 using the fourth finger for the lower note and the first on the next higher string for the higher note4 ,a little time expended in the study of ,ex4 #ci will clearly illustrate the preceding remarks1 and at the same time will prove conclusively1 that if double-stops are only treated according to their harmonic worth1 that is as perfect fifths1 fourths1 major and minor sixths1 thirds1 etc41 the difficulties of extreme keys1 and positions1 will in a great measure be cleared away4 ,illustration3 ,,ex4 #ci4 ,thus in any position the relation of two notes 7providing the harmonic value is the same7 remains undisturbed1 the only difference in the fingering being in the lower positions where the open strings are utilized1 and the only modification being in the very high positions1 where the gradually decreasing distances of the intervals render the use of the fourth finger unnecessary4 ,before attempting anything great in the matter of double-stopping1 the student should practice various scales in sixths1 thirds1 etc4 7both notes being sounded together7 and also any possible arpeggi in double-stopping1 after the manner of ,ex4 #dj4 ,illustration3 ,,ex4 #dj4 ,the student will not find any published arrangement of arpeggi in this form1 but he may easily construct them for himself1 using only the tonic1 mediant1 and dominant of the key4 ,it will be found that a little practice in this direction will amply repay1 as to accomplish the playing of arpeggi in double-stopping without scrambling and with the intervals correctly in tune1 means a command of the positions truly remarkable4 ,in reading works composed chiefly of double-stops1 it is at first rather difficult to decide in which position any passage should be played4 ,the progression of both melodies has to be watched1 as well as the intervals which separate any given two part chord1 the fingering is also affected by the preceding and the following chord1 as well as by the introduction of passing notes1 or such ornamentation as trills1 turns1 etc41 in either of the parts4 ,with respect to shifting1 leaping1 etc41 in double stops1 owing to the choice of fingering being curtailed1 the player must be careful that no unpleasant howling is thus caused4 ,in passages composed of thirds 7slurred71 the player must leap firmly and rapidly from one chord to another1 and where necessary withdraw the pressure from the bow1 so that although the passage is yet slurred1 the connecting glide is not too much in evidence4 ,illustration3 ,,ex4 #da4 ,a striking example of the need of this advice is found in the ,military ,sonata by ,boccherini in ,g 7,ex4 #da74 ,this passage is played throughout with the first and fourth fingers--that is the first finger plays the upper melody1 the fourth finger playing the lower4 ,it will be evident that the beauty of the above melody will be destroyed if no division whatever is made between the notes4 ,this must be accomplished without spoiling the legato effect of the three slurred quavers4 ,a skilful management of the bow may also serve to hide a difficult and awkward move2 thus in cases where the fingering is reversed for two succeeding chords 7,ex4 #db71 it is liable to let the open strings be heard during the changing of the fingers1 especially if a big leap has to be made to reach the second chord4 ,this will be very slovenly1 and on no account must be allowed4 ,illustration3 ,,ex4 #db4 ,the portamento may be introduced in double-stopping progressions for effect1 but more knowledge and judgment is necessary for its successful use than in single melodic progression4 ,it is generally safe to introduce it on two chords taken with the same fingering in different positions1 with the exception1 of course1 of whole passages in thirds1 etc41 like the ,menuetto in the ,boccherini sonata previously mentioned4 ,occasionally1 when moving from one position to another1 it will be found advisable1 or necessary1 to let one of the parts cease1 until the required position is gained1 the glide being executed between the upper notes only2 the player must study any such special passages1 trying them over in various ways1 until he is perfectly satisfied that the correct1 and yet most effective method1 is arrived at4 ,,chords4 ,owing to the arching of the bridge1 it is impossible to sustain more than two notes during the whole stroke of the bow4 ,therefore1 three or four part chords are only possible as broken chords 7,ex4 #dc74 ,a bold attack is necessary to play chords at all effectively1 the fingers of the left hand should be placed simultaneously on the strings1 the necessary changes in fingering for a succession of chords1 being accomplished rapidly and neatly during the moment of reversing the bow-stroke4 ,illustration3 ,,ex4 #dc4 ,it is general to explain that although chords are written as in ,ex4 #dc1 yet it is only possible to play them as in ,ex4 #dc;a4 ,however1 if the chords have to be played in strict time1 it will also be evident that even this method cannot be followed--each minim would receive three beats1 one for the two lower notes and two for the two upper4 ,a correct way of portioning out the time to be allowed for each couple of strings is shown in ,ex4 #dc;b4 ,the student should here count four quavers to each chord4 ,illustration3 ,,ex4 #dd4 ,in some cases the chords are intended to be firmly and smartly struck1 such as repeated chords at the end of a brilliant allegro1 the chords should be divided1 allowing half the time for the lower strings and half for the upper1 and instead of sustaining the upper portion1 the bow should be immediately taken off the strings1 thus allowing them to vibrate freely and vigorously 7,ex4 #dd74 ,chords of this description are usually taken with down bow-strokes4 ,the player should take care1 however1 not to make the chords sound too harsh1 or crabbed4 ,,chapter ,,xi4 ,,arpeggios--,,their ,,evolution ,,from ,,various ,,chords--,,the ,,bowing ,,of ,,arpeggios4 ,,arpeggios4 ,arpeggios are chords1 the notes of which are sounded separately4 ,a modified way of expressing that chords are to be played in arpeggio1 is by placing a curved line immediately preceding the chord1 thus3 ,illustration3 ,,ex4 #de4 ,key arpeggi are formed from the common chord1 that is the tonic1 mediant and dominant2 they may be practised as running arpeggi in three octaves4 ,these arpeggi are published for 'cello in a very useful form1 together with the major and minor scales1 etc41 by the ,st4 ,cecilia ,music ,publishing ,co42 the arrangement is by ,coward ,klee4 ,the notes of a chord which are to be played as arpeggios1 are sometimes interspersed with notes foreign to the chord in the form of passing notes1 and nearly always one or more notes of the chord are reiterated 7,ex4 #df74 ,illustration3 ,,ex4 #df4 ,ex4 #df will illustrate how arpeggios are usually evolved from a chord4 ,first is shown the ,g major triad2 #df;a gives the three part chord played in arpeggi form2 #df;b has the mediant and the dominant repeated1 and #df;c introduces the ,c and the ,a1 both notes being foreign to the harmony1 but used as passing notes4 ,many otherwise difficult passages1 are rendered quite simple to the student1 who only considers of what chord the scattered notes form the harmony4 ,in playing arpeggios the hints previously given in the remarks on the ,left hand1 ,positions1 ,double-stops and ,chords1 concerning a correct management of the left hand fingers are applicable4 ,the remainder of the present chapter will be chiefly devoted to the management of the bow1 in several of the standard forms of arpeggio4 ,,arpeggios 7,,bowing74 ,the manner of bowing the various forms of arpeggio1 offers difficulties of a peculiar nature to the student2 this is chiefly occasioned by the crossing and recrossing of the strings1 which although greatly adding to the possibilities and brilliance of many of the various modes of phrasing1 also in most cases adds to the difficulty of a quiet performance4 ,a thorough knowledge of the arm and wrist movements which are brought into use in approaching any of the four strings with various parts of the bow1 and with either up or down bow-stroke is essential2 this knowledge is not to be gained by hard practice1 but rather by a careful analysis of the mechanics 7if the word may be used in this sense7 of simple bowing4 ,the end to be kept in view should be to accomplish the crossing of the strings in as quiet a manner as possible1 that is with a minimum of effort2 as an aid to this1 wherever possible the elbow and upper arm should be held in a quiet position near the side1 the changing of the bow from one string to another being chiefly accomplished by a wrist movement1 or by a slight upward movement of the fore-arm4 ,illustration3 ,,ex4 #dg4 ,arpeggios on three or four strings phrased as ,example #dg;a should be played with alternate down and up bow strokes1 always attacking the arpeggio commencing with the lower string with the down bow4 ,for a moderate allegro1 about half the bow's length may be used1 the two middle fourths 7upper and lower7 being the most serviceable2 the bowing should be as smooth as possible1 each note being of equal length2 in the triplet arpeggio the customary accent on the first of each group must be observed1 and in every case the groups should be quite distinctly separated4 ,in mixed bowings as ,example #dg;b1 the same quantity of bow stroke must be used for the detached note as for the slurs2 the detached quaver or semiquaver in each case being taken with a light up-bow4 ,exercise #dg;c is a very brilliant style of bowing1 yet generally very easy to acquire4 ,the bow is thrown with force for the first note of each group1 then with a nicely regulated wrist movement1 assisted by the fore-arm to allow sufficient stroke1 the three or four springing strokes fall1 one for each note4 ,any slovenliness in the management of the wrist will result in some of the notes being missed1 and others obtaining more than one of the springing strokes4 ,although this style of bowing is expressed exactly as solid staccato1 it is very seldom that arpeggios would be played other than with slurred spiccato1 the unhelpable roughness which accompanies a short staccato stroke on an open string1 renders the solid staccato impracticable for passages regularly crossing the strings4 ,this bowing is often used with alternate groups of smooth slurred bowings4 ,example #dh;a is a style of phrasing which should always commence with the up-bow2 the reasons for this are as follows4 ,foremost and most important is that the wrist action which one observes in reversing the bow from an up-stroke to a down-stroke1 may be utilized to serve the double purpose of changing the bow-stroke and leaping to the ,a string2 this could not be accomplished in so quiet a manner with the reverse stroke4 ,if the above phrasing was commenced with the down stroke1 it would be necessary to make two distinctly separate movements to reach the ,a string2 one1 a wrist movement from side to side to reverse the stroke1 the other an upward movement of forearm and wrist1 to obtain the necessary elevation which will allow the bow to leave the ,d string and touch the ,a4 ,another reason is that the nearer the heel of the bow is approached1 less leverage and consequently less arm movement is required to cross the strings2 this is counterbalanced by the lack of control over the bow at the heel in rapidly changing from one string to another4 ,the bowing should be commenced slightly nearer the point than the middle1 especially for ,example #dh;b1 so that the spiccato semiquavers may be played at the middle of the bow1 with a wrist movement only4 ,illustration3 ,,ex4 #dh4 ,in ,example #dh;a the upper arm should move backwards and forwards 7the elbow must not project7 the bow being thrown on the upper string by the wrist as previously explained4 ,the student should play an arpeggio phrased as above1 at the same time carefully analyzing each arm and wrist movement2 he will thus realise the importance of utilising every movement to assist in giving a quiet and finished performance4 ,illustration3 ,,ex4 #di4 ,example #di;a should be played with alternate down and up-strokes1 commencing with the down bow near the heel2 the bow should be drawn say one fourth part for the two lower notes1 then the hand--from the wrist1 should be rapidly raised1 so that the bow leaves the ,g string and touches the ,a1 using another fourth part of the bow for the two upper notes4 ,the second chord commences with the up-bow1 at the middle4 ,a good1 broad effect is generally intended with this kind of bowing4 ,to produce this1 only the slightest possible gap must be allowed in changing the bow from one string to another1 thus giving the impression that two notes are constantly being sounded2 sufficient pressure must be applied to the bow to cause the whole width of the hair to touch the strings1 and an equal division allowed for each part of the arpeggio4 ,it is possible to produce a very brilliant1 heavy effect with the bowing at ,example #di;b2 it should be commenced with the up-bow near the heel1 using a very heavy spiccato stroke1 the two upper notes receive a down stroke4 ,it is also possible to execute it commencing with the down-stroke1 but if played in this manner it is difficult to get sufficient power on the two upper strings1 as well as more time being wasted in changing the bow from the down-stroke to the up-stroke 7see explanation of ,example #dh;a74 ,the bowing at ,example #di;c is a style of phrasing which one often comes across1 especially in brilliant solo pieces2 it is sometimes wrongly written as ,example #di;d1 that is1 with three spiccato notes to each bow2 if executed in this manner it is safe to say that the effect will be exceedingly tame4 ,in solos1 concertos1 etc41 and for heavy passages in chamber music1 it will be necessary to give the first note of each group a heavy down-stroke 7spiccato71 the remaining two notes being played with the up springing-bow2 in this manner the strokes are all given near the heel of the bow1 the metrical accent on the first note of each group being effectively produced with the heavy down-stroke4 ,other styles of arpeggios bear more or less similarity to those which have here received treatment1 with a little thought the student should now be able to determine which will be the most effective way of bowing4 ,,chapter ,,xii4 ,,graces ,,and ,,embellishments--,,the ,,use ,,of ,,the ,,thumb--,,extensions--,,octaves4 ,,graces ,,and ,,embellishments4 ,there are various embellishments in use1 some of which are expressed in notation1 such as the cadenza1 the group of grace notes1 the appogiatura4 ,others are expressed by signs4 ,the most important of these are the trill1 or shake 7tr71 the pralltriller1 or short shake 7symbol71 and the mordent1 or turn 7symbol or symbol according to the variety74 ,besides the above1 and not included in these two divisions1 are numerous graces1 or ornaments1 which perhaps come under the head of effects1 and both in their introduction and their manner of execution1 are left entirely to the player4 ,under this head may be mentioned the close shake1 or vibrato1 and the vocal effect produced by changing the fingers on a stopped note1 or playing two notes of the same pitch in different registers of the instrument4 ,considering the largely increasing quantity of literature which deals with the elements of music1 wherein most of the above graces are treated1 it will be useless to again go through an explanation of them4 ,it will be necessary1 however1 to deal with one or two matters relative to their execution on the violoncello4 ,it used to be customary for singers and instrumentalists to take more liberty in the introduction of graces and embellishments than is allowed in modern times1 or is possible with modern compositions4 ,the early ,italian vocal school must be held responsible for many early extravagances in this direction4 ,the representatives of this school1 fitted as they were by nature1 climate1 language and training1 for brilliant vocalisation1 never lost an opportunity of displaying their wonderful feats of execution2 in the opera even the simplest melody being overloaded with trills1 turns1 grace notes and especially by the introduction of long bravura passages1 in the shape of variations on the melody1 or as cadenzas4 ,an amusing instance of this was the competition between ,farinelli1 the celebrated singer and a trumpeter 7,rome1 #agbc71 which took place before a large and enthusiastic crowd4 ,i suppose each of these artists tried to outshine the other in the brilliance of their improvised cadenzas and coloratura passages4 ,with the exception of added cadenzas in some concertos1 it is not now considered good taste to embellish a composition--even the simplest melody1 by the addition of anything to the written notes4 ,the modern artist1 especially the instrumentalist1 must content himself with his individual treatment of what is before him1 depending solely on this1 and the beauty of the composition for his effect4 ,,the ,,trill4 ,to acquire a good trill on the violoncello1 the student should practice trilling with each finger1 commencing very slowly at first1 then gradually increasing the speed4 ,each finger should be perfected separately1 the fourth being generally the weakest1 will require more attention4 ,the following exercise 7,ex4 #ej7 if properly practised1 should be the means of perfecting the student in this essential and pleasing ornament4 ,illustration3 ,,ex4 #ej4 ,to study this exercise properly a week should be devoted to each figure1 that is to say1 one figure must be fairly well perfected before the next is attempted2 the student should devote several minutes at various times of the day to its practice4 ,this system of dividing the time devoted to the practice of a mechanical study like the perfection of the trill1 will prevent the muscles being over exerted4 ,in slow movements1 especially on a long sustained note1 a good effect may be produced by commencing the trill slowly1 then gradually increasing the rapidity of the beats4 ,in quick movements the trill should be generally commenced and continued quickly4 ,the chief beauty in the introduction of the pralltriller and the various turns1 consists in throwing them into the melody without disturbing the time or phrasing2 to acquire this ability1 the student may first play the passage without introducing the turns1 etc41 then when the structure of the phrase is clearly grasped1 the embellishments should be added4 ,as a good concert composition which may be of use both in acquiring a neat method of introducing the turn1 or of displaying such accomplishment1 may be mentioned the ,arlequin by ,popper4 ,it is very pleasing and fits the instrument4 ,,the ,,vibrato4 ,the vibrato or close shake is produced by shaking the left hand from side to side1 the finger tip--which stops the note on which the vibrato is produced1--forming the pivot4 ,the soft fleshy cushion which forms the tip of the finger1 seems to grip the string1 and should not on any account be allowed to slide out of tune2 thus the effect must never be so exaggerated as to allow the beats to be varied in pitch1 the result should merely be a kind of throbbing4 ,a good effect is produced in a sostenuto theme by commencing the vibrato slowly on a crescendo note4 ,as the crescendo gathers in force1 the throbbing of the vibrato is increased in rapidity2 much practice is necessary to accomplish the gradual increasing or diminishing of the speed1 without any break being observable in either the increasing of the tone1 or the vibrato beats4 ,the natural law with respect to the variety in vibrato effects may be given as follows4 ,a note low in pitch1 or a note played piano1 requires a slow vibrato1 a higher note1 or a note played forte and passionately1 requires a rapid vibrato4 ,the student must be cautioned not to introduce the slow vibrato too freely1 although he may see many players constantly wag the hand in sustained or passionate passages1 this is not always done to produce a vibrato effect1 but is often intended to give a thrilling tone by a clearly defined stopping of the note4 ,,the ,,cadenza4 ,the cadenza may be said to range from the group of notes taken ad lib41 to the brilliant virtuosic cadenza introduced1 or added to concerto compositions4 ,the first form is generally used as a connecting link between one section of a composition and another1 and although the time is marked ad lib41 the student should always strive to correctly phrase these little solo passages in accordance with the character of the movement or composition1 so that the desired effect may be given4 ,the latter and big form of cadenza1 is generally given to allow the performer an opportunity to show his skill1 although ,schumann did not favour this idea2 the cadenza to his 'cello concerto being merely a few bars of recitative leading into the brilliant coda 7finale71 in other compositions he adhered to the same idea1 the cadenza being thoroughly and wholly ,schumann1 without any attempt to serve as a means of display4 ,in compositions where the cadenza is not written out1 the player is expected to supply one2 this should be constructed from motives taken from the work1 the skill of the player being shown in the manner in which these motives are treated4 ,as the composition of a cadenza will necessarily be of a free character1 the introduction of brilliant arpeggios1 double-stops and rapid scale passages all skilfully woven around and connecting the motives introduced1 may be taken as the basis on which to work4 ,,grace ,,notes4 ,grace notes expressed in groups of small notes are not essential in any great degree to the musical structure of a composition1 they are supposed to add to its effectiveness2 the success of their introduction and their chief charm1 consists in throwing them into the melody with ease4 ,sometimes a ritard is made1 especially in song-like compositions1 so that the grace notes may be played quite deliberately2 in other pieces where strict time is essential1 the time must be stolen from the note which precedes or follows4 ,it may be accepted as a general rule that the grace notes should not delay the enunciation of a heavily accented note1 so that the rhythm may remain undisturbed4 ,,pizzicato4 ,notes are played pizzicato by pulling the strings with the fingers1 instead of causing their vibration with the bow2 the player should grasp the bow firmly at the nut with the little finger1 and perhaps the third finger1 according to the requirements of the pizzicato passage4 ,in scale passages it is wise to use the first and second fingers alternately for the purpose of plucking the strings1 the thumb resting on the edge of the fingerboard as a support for the hand4 ,for arpeggios and chords1 the thumb may be used for the lower string1 and the fingers for the upper strings4 ,chords in rapid succession are best played by striking across all the four strings with the thumb and first finger alternately2 when the thumb is used1 the lower strings receive the first vibration1 the higher strings being struck first when using the first finger2 the chords should be struck so smartly that the four strings seem to vibrate simultaneously4 ,the advantages of this method is that with each motion of the hand a chord is sounded1 thus1 when using the thumb1 the hand moves from right to left1 returning from left to right when using the first finger4 ,in all pizzicato passages the strings should be plucked in such a manner that they oscillate from side to side during their vibration2 if they are allowed to snap against the fingerboard1 the sound will be instantly checked4 ,the student should remember that taste may be brought into play in the method of executing pizzicato passages4 ,it is not necessary to play all the notes with one volume of sound2 a crescendo on a series of notes can be produced quite as effectively as with the bow4 ,in chamber music there is often a better opportunity for the display of taste in the execution of pizzicato passages than in solo compositions2 pizzicato passages in the latter being generally introduced for display rather than accompaniment4 ,,the ,,use ,,of ,,the ,,thumb4 ,a knowledge of the correct use of the thumb for the purpose of stopping notes on the violoncello1 is of the utmost importance to any who wish to have anything like command of the instrument4 ,it is quite certain that the 'cello would not be anything like the perfect instrument it is1 if the player was confined to the neck positions4 ,as already explained1 the neck positions only extend to a couple of notes beyond the half-string4 ,when it is necessary to go beyond this1 the thumb is taken from its position behind the neck of the instrument1 and firmly placed in a horizontal position across two strings1 thus stopping a perfect fifth4 ,the student should attend very carefully to the hints here given respecting the part of the thumb which actually stops the strings4 ,the first joint of the thumb should be slightly bent outwards1 the higher string should pass across the side of the thumb just under the root of the nail1 the strings being about half-an-inch apart1 the lower string will be that distance nearer the tip of the thumb4 ,on no account must the thumb be so placed that the higher string interferes in the slightest with the joint of the thumb3 this would make it impossible to quickly slide along the strings without disturbing the relative positions of the two strings4 ,continued practice with the thumb will form two grooves on the under side of the thumb1 exactly the width of the strings apart2 when this comes about1 no inconvenience will be experienced either in rapidly sliding along the strings1 or in putting on sufficient pressure4 ,a common experience with students first learning thumb positions1 is the feeling that the fingers are too long4 ,to remedy this and also to gain sufficient weight on the fingers1 some young players will allow the knuckles to protrude and the finger joints to bend inwards4 ,i have noticed this time after time in pupils1 even when they have overcome the same difficulty in the neck positions4 ,in a short time the hand will get accustomed to the change of posture1 in the meantime the knuckles must be kept quite flat1 and the finger joints bent outwards4 ,when the muscles1 which have hitherto remained idle1 are fully developed1 the player will be able to put sufficient pressure on the strings without any assistance from the weight of the hand4 ,with respect to the introduction of the thumb2 it is not always necessary in the high positions to use the thumb to actually stop certain notes1 occasionally certain scale passages occur which may be fingered as the ordinary scales--that is1 with the thumb following behind at the distance of a tone4 ,however1 the most important reason for rejecting the thumb for speaking notes and fingering the passage1 is that of phrasing4 ,in expressive movements1 exactly as one finds it necessary in the lower range of the instrument to leave out the use of the open strings1 or play in a higher position than necessary1 so in the high thumb positions the same unity of feeling must be observed by a nicely arranged system of fingering4 ,the reason for an objection against the indiscriminate use of the thumb in slow cantabile passages1 is that the tone produced when the note is stopped by the pressure of the thumb1 is not of the same character as that produced when the tips of the fingers are used4 ,perhaps it takes a very fine ear to distinguish this difference4 ,in quick movements it is not discernible1 but on a sustained note the tone produced by the thumb is to a great extent colourless4 ,that there should be a difference in tone is hardly to be wondered at1 when one considers the acute sensibility of touch at the finger tips4 ,it is possible that the necessary varieties of pressure1 or more accurately1 touch1 which are requisite to a soulful performance1 may be more readily accomplished with the tips of the fingers1 owing to a greater concentration of nerve matter there than at the side of the thumb1 but this we must leave to physiologists2 those whose ear is so delicately formed that they notice these slight varieties in tone colour1 will perhaps be thankful for the hint whereby a soulful manner of fingering and phrasing in the high positions may be acquired4 ,the fear of being thought dogmatical in this work1 prevents me giving examples of this method of fingering in the thumb positions1 as1 of course1 each player will naturally adopt the system which suits his style the best1 but to the student ,i would advise that the passages are phrased exactly as one would sing them1 entirely irrespective of strings or positions2 using the finger tips in preference to the thumb for the speaking notes wherever possible4 ,in quick movements the use of the thumb is indispensable4 ,in many cases one is compelled to use it even in the lower neck positions so that certain passages may be possible4 ,,extensions4 ,the use of extensions1 that is1 the fingering of certain notes which are foreign to the position in which the hand is placed1 is of more frequent occurrence in the thumb positions than in the lower range of the instrument4 ,to a great extent these have to be studied as special passages4 ,however1 each passage of this description thoroughly mastered1 will make similar passages easier and assist in giving a greater command over the fingerboard4 ,to acquire a general knowledge of these extensions1 the student may practise a series of running arpeggios in the various keys1 similar to those given by ,coward ,klee in his arrangement of scales for 'cello4 ,the student may play them in three or four octaves according to the possibilities of the instrument4 ,,octaves4 ,octave passages are usually played across two strings1 with the thumb and third finger1 the thumb stopping the lower note on the lower string1 and the third finger stopping its octave on the higher string4 ,the most difficult progressions in octaves are those which are played in unison1 that is1 the higher and lower notes being sounded simultaneously--the slightest faults in intonation are here most painfully evident4 ,where the octaves are sounded separately1 one part moving independently to the other1 the difficulty of intonation is nothing near so great4 ,occasionally one comes across octave passages which are either impossible to be played in the usual manner of thumb and third finger--or else sound better to be played with different fingering4 ,an example of the former is met with in ,popper's well-known ,elfentanz4 ,this is an extremely brilliant descending passage in octaves1 with the ninth used as a passing note4 ,here the octaves are played with thumb and second finger1 thus leaving the third finger free for the added ninth4 ,an example of the latter exception is the final octave passage in the ,rondo of the favourite ,beethoven ,sonata for 'cello 7,no4 #b74 ,this passage1 which remains in the lower range of the instrument1 sounds much more brilliant if taken as an ordinary passage across the strings1 than if attempted with the usual octave fingering4 ,,chapter ,,xiii4 ,,the ,,scientific ,,basis ,,of ,,harmonics--,,some ,,peculiar ,,laws ,,which ,,govern ,a ,,vibrating ,,string--,,natural ,,and ,,artificial ,,harmonics--,,the ,,manner ,,of ,,bowing ,,harmonics4 ,,harmonics4 ,in considering harmonics1 the names of two of the greatest violin players the world has ever seen force themselves to one's mind3--,paganini and ,spohr2 the exponents of two schools of violin playing as diametrically opposed to each other as darkness is to light4 ,paganini the weird1 fiery ,italian1 astonishing the world with hitherto undreamt of effects1 not the least marvellous in the eyes of critics and multitude alike1 being his wonderful command over every possible form of harmonic playing4 ,spohr with his solid1 classical1 ,german temperament1 attempting nothing out of the established limits of real1 solid playing1 countenancing nothing which the great in music before him had not accepted and stamped with their hall-mark4 ,considering this1 and also that ,spohr may have been annoyed at the allegiance which nearly the whole music-loving public were only too eager to pay to the ,italian violinist1 it is not to be wondered at that he should find it necessary to denounce the whole art of harmonic playing as trick playing and unworthy of a great artist4 ,one can hardly forgive ,spohr's description of harmonic tones as foreign and childish2 they certainly are entirely different to the tone produced by stopped notes1 but this very difference1 instead of condemning them1 should rather recommend them to the instrumentalist as another means of adding variety1 that essence of life1 to his playing4 ,it is really surprising what an electrical effect on an audience has a well executed passage in harmonics2 harmonics excite wonder6 true1 but if well played they also excite enthusiasm4 ,spohr is to be praised for his recommendations to young violinists not to neglect that which is useful1 in the prosecution of the study of harmonics2 young violoncellists please attend to the advice6 yet every player should be thoroughly conversant with the science of harmonics even if he has to defer perfection in the art of their production until a later period4 ,harmonics are described as the accessory sounds generated with the predominant and apparently simple tones of any vibrating string or column of air4 ,science teaches us that a single note is impossible2 immediately a note is sounded1 certain tones more or less related to the fundamental note1 are generated4 ,these overtones may be distinctly heard if one of the open strings of a good old violoncello is vigorously sounded2 as the fundamental note decreases in power1 the harmonic over-tones will be easily heard in their order of production--first the octave1 then the fifth to the octave1 then the major third to the octave above4 ,another method of hearing these harmonics is by causing a note in unison with one of the open strings of the violoncello to be sung1 or played upon some other instrument1 the string in unison with the note sounded1 through sympathetic vibration will give out the overtones only1 as previously described4 ,however it is not these fleeting overtones which demand our attention1 although they form the natural basis to the whole matter1 it is the production of harmonic tones in the form of independent or primary notes4 ,to accomplish this on the violoncello the string must be touched lightly with the finger at certain places1 not as for the production of a stopped note1 by pressing the string firmly against the fingerboard1 but by allowing one finger to lightly rest upon it with sufficient touch to divert the vibrations4 ,it will be found that only at certain places are harmonic notes possible4 ,these places are called nodes or nodal points2 they are to be found at the mathematical divisions of the strings into halves1 thirds1 quarters1 etc4 ,the class of harmonics produced in this manner are termed ,natural ,harmonics4 ,as each string gives out the same notes relative to the pitch of the open string1 one description will suffice4 ,if a string is lightly touched at its half length during vibration1 the octave to the open string will be produced2 at one-third or two-thirds its length1 measuring either from the bridge to the nut or vice vers1 the fifth above the octave2 at one-fourth or three-fourths the double octave2 at one-fifth1 two-fifths1 three-fifths and four-fifths the major third above the second octave2 at one-sixth and five-sixths the fifth above the second octave1 and at one-eighth1 three-eighths1 five-eighths and seven-eighths a harmonic note three octaves above the open string will be produced4 ,the difference between the vibration of a musical string during the production of a stopped note1 and a harmonic note is of sufficient interest1 and of enough importance to merit description4 ,most of my readers will be aware that when the string is pressed firmly against the fingerboard for a stopped note1 the portion between the finger and the nut does not vibrate1 the string is practically shortened to the dimensions of that portion which lies between the finger and the bridge2 when a harmonic note is played however1 the finger being lightly placed on the string merely diverts the vibration2 the whole length of the string vibrates1 the part between the finger and the nut assisting as actively in producing the note as the part between the finger and bridge4 ,the following rough sketch will illustrate this more clearly than is possible in words alone2 ,fig4 #e represents a vibrating string2 7a7 is the nut1 7c7 the bridge1 the string being stopped at its half length 7b71 the only portion which vibrates is that between 7b7 and 7c74 ,fig4 #f represents a harmonic note produced at the half string 7b7 in this case the whole string vibrates yet the string is divided into two equal parts1 the part between 7a7 and 7b7 vibrating in unison with that between 7b7 and 7c74 ,the student will here see the importance of keeping all the fingers quite clear of the string except of course the one producing the note1 so that the vibrations may not be impeded4 ,so far this seems quite logical1 it is in proceeding further that one realizes the wonderful laws which govern the production of harmonics4 ,fig4 #g represents the string touched lightly at its fourth part 7d7 or 7e7 giving the harmonic note two octaves above the open string2 the student will observe that it is quite immaterial whether the fourth be calculated from the bridge or from the nut2 the vibrations in each case will be thus3--,if the string is touched at 7d7 the portion between 7d7 and 7c71 that is between the finger and the bridge1 will naturally divide itself into three equal parts1 each part vibrating in unison with the part between 7a7 and 7d72 again1 if the finger is placed at 7e7 the part behind the finger1 that is1 the portion of the string between 7e7 and 7a7 will divide itself into equal parts in like manner4 ,one of the fourth parts is to be found at 7b72 how is it then that if the string is touched there a harmonic note of lower pitch than those given out at the first and third fourths is produced8 ,the reason is that the portion of string at each side of 7b7 being of equal length1 the string naturally divides itself into halves2 we have found that this gives the octave to the open string4 ,the student may work out for himself the reason why the fifth above the second octave is only playable at the one-sixth and five-sixth parts and not at the two-sixth1 three-sixth and four-sixth1 and why the third octave is not possible at the two-eighth1 four-eighth1 and six-eighth parts4 ,illustration3 ,fig #e ,illustration3 ,fig #f ,illustration3 ,fig #g ,,artificial ,,harmonics4 ,the name artificial is used merely in contrast to natural1 they are only artificial in the sense that they are produced on an artificial or made basis1 instead of being in the key of the open string4 ,if one was restricted to the use of natural harmonics it would be impossible to play scale passages1 or any passages foreign to the key of the four open strings4 ,however by causing the string to be shortened by the employment of a stopped note the pitch of the fundamental note may be raised to any desired height1 the harmonics being produced exactly as before1 on the fresh root thus formed2 the harmonic being in the key of the shortened string4 ,in playing artificial harmonics on the violoncello it is usual to employ the thumb for the stopped note1 the third finger should then be caused to touch the string lightly at one of its nodal points1 the distances of course being now calculated from the thumb to the bridge4 ,owing to the sometimes great length of string between the stopped note and the bridge it is often found impossible to use any but the smaller divisions1 the form most often met with being harmonics produced by fourths1 that is1 the third finger touching the string at the interval of one fourth 7stopped note7 above the thumb3 the harmonic thus produced will be two octaves above the pitch of the note stopped by the thumb4 ,whole passages are written for this form of artificial harmonics4 ,to the student who has thoroughly mastered octave passages in stopped notes the technical difficulties presented ought to be easily conquered1 as the same technique really suffices for both2 the only difference being that whilst octaves are played across two strings--artificial harmonics by fourths are played with the same fingering and the same intervals on one string4 ,with respect to the bowing of harmonics1 the peculiar manner in which the string vibrates during the production of harmonic notes must be taken into consideration4 ,it is important to notice that the vibration of the string near the nodal points is the least intense 7see double lines in diagram71 whereas the part mid-way between the nodes vibrates with the greatest intensity2 if the bow is caused to pass near one of these nodes it may possibly give a greater vibration to that portion of the string than is required1 which would have the effect of displacing the natural division1 and placing of the nodes1 thus causing confusion or perhaps another harmonic than the one intended to be produced4 ,it is general to give an all round rule that in playing harmonics the bow must always be drawn close to the bridge1 the student will comprehend that the smaller the division of the string used to produce the harmonic1 the greater need will there be to attend to this rule4 ,the progression of harmonic notes should be clearly defined2 in passages composed wholly of harmonics it may sometimes be found advisable to use a down bow-stroke for each note1 slightly striking the commencement of each harmonic2 this will give the necessary attack1 and will cause each note to ring out clear as a bell1 providing the fingering is correctly managed4 ,harmonics are indicated in various ways1 sometimes causing much confusion and indecision as to what is really required2 thus in a single composition it is possible to find the real notes which are to be produced being given with the word harmonique or flageolet or sometimes the sign ,o 7usually employed for natural harmonics7 added1 the player to produce the harmonics as he pleases2 again the position of the node which produces the harmonic will be indicated by a blank note1 the pitch of the harmonic to be produced being left to fate and the performer4 ,to indicate artificial harmonics it is usual to write the stopped notes as an ordinary passage1 then with the aid of blank notes the positions where the string has to be lightly touched are shown4 ,,chapter ,,xiv4 ,,special ,,effects--,,trick ,,staccato--,,various ,,methods ,,of ,,producing ,,chromatic ,,scale ,,passages--,,sul ,,ponticello ,,bowing ,,and ,,bowed ,,harmonics--,,flautando--,,pizzicato ,,glide ,,and ,,grace ,,notes6 ,,special ,,effects4 ,there are various effects possible on the violoncello1 which one often finds introduced in modern solo compositions1 but on which most works on the art of violoncello playing are strangely reticent4 ,some of these effects may perhaps come under the head of trick playing1 but as they are to be found in the works of such masters as ,servais1 ,davidoff1 ,popper1 etc41 it will be advisable to devote a little time to their consideration4 ,servais--who is credited with doing more by his compositions and playing towards giving the violoncello a firm standing as a solo instrument than any previous writer1 and perhaps any subsequent player-writer with the exception of ,popper--makes free use of most of the effects here treated4 ,the most common effect1 generally known as trick staccato1 may be explained as follows3 ,illustration3 ,,ex4 #ea4 ,the left hand takes no part in the division of the notes1 the third finger merely gliding from the highest note of the passage1 down to the open ,a string2 the finger should press uniformly on the string1 the division of the notes being accomplished by a nervous tremolo movement of the fore-arm which causes the bow to proceed in a series of rapid jerks4 ,the right hand wrist remains fixed1 the pressure on the bow being almost uniform4 ,the above kind of staccato must not be confounded with solid staccato4 ,it is possible to attain a very high rate of speed in a passage as ,ex4 #ea if executed as explained1 but apart from this1 the effect is entirely different than if performed with solid staccato1 even if it were possible to play the passage as rapidly with the latter form of bowing4 ,another kind of chromatic passage produced wholly by a bow movement may be found in ,davidoff's ,am ,springbrunnen and ,popper's ,elfentanz4 ,the following 7,ex4 #eb7 is taken from the latter work4 ,illustration3 ,,ex4 #eb4 ,the finger should glide along the string as previously explained1 the division of the notes in this instance being accomplished by a rapid spiccato movement of the bow1 producing a series of short detached strokes4 ,in a passage of this character it is impossible for either player or listener to discern whether the exact chromatic scale is actually played2 the only method to approach anywhere near a faithful interpretation of the passage1 is by a correct division of the bow strokes in groups of fours1 at the same time carefully regulating the speed of the gliding finger4 ,it will be evident that the gliding must be more rapid when the lower positions of the instrument are reached than in the high positions2 thus in commencing the above passage 7,ex4 #eb71 the notes being nearer together in the higher positions than in the lower1 the hand should move correspondingly slower2 the movement becoming more rapid as the passage proceeds4 ,a third method of producing a chromatic passage--this time1 however1 with the left hand1 without any assistance from the bow for the division of the notes--seems to be a speciality of ,servais4 ,it is introduced both in slow portamento effects and rapid chromatic passages4 ,illustration3 ,,ex4 #ec4 ,the bow should be drawn as for a long sustained note1 the division of the notes being caused by a series of rapid jerks performed by the left hand4 ,the finger should sustain the pressure on the string during the whole passage1 the movement is similar to that explained as the method of producing the vibrato1 with the addition of the forward or backward progression of the hand according to the requirements of the passage4 ,the passage may be played with any finger1 but it is advisable to use the fourth finger for a descending passage 7see ,ex4 #ec7 and the first or second finger for an ascending chromatic run4 ,it is also here impossible to attempt to play the real notes except in very slow passages2 to execute a rapid chromatic as above1 the player should merely grasp the time of the semiquavers1 and regulate the distances for each movement previously as explained4 ,the same effects as above examples are also possible in octaves1 they are produced in a similar manner4 ,,sul ,,ponticello4 ,a style of bowing which seems to be either very little understood1 or very much neglected1 is sul ponticello bowing4 ,in string quartets1 orchestral music1 etc41 a very fine effect is possible if all the players execute it in a proper manner4 ,the bow should be drawn quite close to the bridge1 with only medium pressure applied1 the stroke should be performed more rapidly than ordinary bowing4 ,this bowing executed by a number of strings gives a very weird effect1 the only objection to its use being that if great skill is not used1 the string1 instead of vibrating as a whole1 will vibrate in segments1 thus giving out one or other of the natural harmonics4 ,it is stated that ,paganini used to play certain passages in harmonics after the above manner2 harmonic tones may be produced on any stopped note1 by the bow alone1 as follows4 ,the bow should be drawn very lightly across the strings near the bridge1 the left hand fingers firmly stopping the notes2 various harmonics may be produced with one fingering by slightly varying the position of the bow1 moving it slightly nearer or away from the bridge4 ,except for special passages1 which are really intended for this kind of ponticello harmonic playing1 it is not advisable to introduce it2 the slightest irregularity in the position of the bow on the string will alter the harmonic notes to a great extent4 ,,flautando4 ,of more real use than the preceding1 is the bowing sometimes styled sotto voce1 or more properly flautando2 the tone produced by this manner of bowing is of a beautiful soft flute-like character1 and serves as a grateful change to a continued hard tone4 ,it is accomplished by causing the bow to be drawn near the fingerboard1 and without any pressure being applied2 the strokes should be drawn much more rapidly than for the usual way of bowing1 the change of bow-strikes being accomplished almost unheard4 ,it is practicable for any sustained cantabile theme1 especially if the tone is to be kept piano2 great freedom in bowing must be obtained before anything like perfection be arrived at1 the only objection to its introduction being the manner in which phrases are chopped up if bowed in this manner2 this1 however1 is more apparent on paper than in the performance1 as if the bowing is skilfully managed it is possible to reverse the strokes without any perceptible break in the tone1 the phrase being as continued as if executed with one sustained bow-stroke4 ,,pizzicato ,,effects4 ,various effects are possible in pizzicato playing1 such as the close shake1 the pizzicato glide2 the latter if done well has a very good effect1 especially in chord passages1 the fingers should glide to the next chord almost as soon as the strings are plucked4 ,grace notes are also possible in this manner2 the string is plucked for the grace note1 then the finger rapidly glides to the principal note during its vibration2 the string only being plucked once for the two notes or chords4 ,,chapter ,,xv4 ,,delivery--,,style--,,form ,,versus ,,feeling--,,conception--,,essentials ,,of ,a ,,fine ,,delivery--,,orchestral ,,playing4 ,,delivery1 ,,style1 ,,etc4 ,up to the present chapter the student has been instructed how to interpret and perform that which he sees on the music sheet before him2 to give a soulful and intelligent reading of any composition1 he must look beyond the mere written notes1 and see if it is not possible to discover some meaning1 some effect which the composer has been unable to express in musical notation4 ,true music is conceived in the mind of the composer1 in some more or less perfected form1 before any attempt is made to transfer the ideas to paper4 ,of course each composer has his individual way of working1 thus ,beethoven never was without a note book in which he jotted down any bits of melody or any musical thought which occurred to his mind during his perambulations4 ,among these ideas may be found the leading themes from which some of his greatest compositions were afterwards developed4 ,mozart gives us an instance in the extreme opposite direction2 it is stated that this wonderful composer carried the whole of a sonata for violin and pianoforte in his mind without a single note being transferred to paper1 the composer taking part in a public performance of the same with only a duplicate of the violin copy at the pianoforte4 ,the student must keep in mind that the composer writes his thoughts2 perhaps the reader is unable to conceive the difficulty of transferring to paper the musical thoughts which come unbidden to the mind2 to write the notes is simplicity itself1 but how impossible to write a melody so that every inflection of tone power1 every slight change in tempo1 and more than this the exact sentiment which the music should convey4 ,to some people--perhaps to some players--music is merely the sounding of a variety of combinations of sounds1 in various rhythms2 it expresses nothing more than that4 ,emotion1 sentiment1 must not be given a place in the musician's vocabulary1 anything which does not appeal solely to the intellect we are told to consider vulgar and sensual4 ,luckily for the string player these superior people are in a minority1 the multitude are yet swayed1 and to the end will continue to be moved by a melody sung or played from the heart4 ,perhaps it is possible to find a parallel in art2 one contemplates a beautiful geometrical design2 clever1 intricate1 graceful1 but how much better are we for its contemplation8 ,has it conveyed any truth8 ,is it possible to move a crowd either to tears or laughter8 ,is it possible to awaken either warlike or peaceful feelings in the breasts of the observers8 ,how much greater to portray feelings than forms1 thus a picture which depicts love1 hatred1 happiness1 misery or gratitude1 must be considered greater than a mere figure study4 ,in landscape painting it is greater to reproduce living nature than mere studies of trees1 sky1 etc42 thus the painter who makes us see the driving snow1 the rushing torrent1 the beating rain1 the fitful gleam of sunlight or even the passive stillness of the wood1 conveys impressions to our minds1 not only impressions of nature1 but of certain states or moods of nature4 ,compare some of the music by such as ,romberg to that of ,beethoven or ,schumann2 the first merely studies in sound1 the latter brimful of thoughts1 impressions1 which appeal to the intellect of the performer1 and test his musicianship by the manner in which they are expressed or overlooked4 ,the student should remember that all good music is composed with a strict observance of its effect on the listener2 this does not mean that ,beethoven wrote a scherzo for the sole purpose of causing people to feel jolly1 any more than he wrote a funeral march or an adagio solely to make people sad4 ,in all ,beethoven's music1 as in that of other great masters1 the listener is purposely compelled to pass through various states of mind2 where necessary the addition of a movement or section in quite a contrasting mood is purposely made1 so that the mind of the listener is prepared for the ensuing movement4 ,the composer writes what inspires him at the moment1 but his greatness is shown in the manner in which these themes are contrasted and varied1 so that the interest of the listener is sustained throughout the whole performance4 ,this must be considered in the delivery of a musical composition4 ,it is the effect on the listener which one must constantly have in mind1 no matter how turbulent are the feelings of the player1 if the passion does not find its way into the delivery1 the audience will be quite unaware of the fact4 ,how is this to be accomplished8 ,in reading aloud or reciting1 if one only observes the ordinary rising and falling of the voice at the division of the periods1 marks of interrogation1 etc41 it would be hardly possible to say that one read with expression4 ,there is something more than this school boy elocution required2 does not an orator hurry an impassioned passage1 and drag a doleful one1 does he not shout a command and whisper a tender sentence4 ,so if the musician merely observes the rhythmical and dynamic effects1 the performance may be correct1 yet it will be void of soul1 and of that force which carries along the hearer4 ,exactly as in elocution1 the performer must first grasp the intention of the composer before a soulful interpretation is possible2 it is just this conception1 this grasp of the composer's meaning1 this transforming of the groups of sound into a real living performance1 which at once reveals the real genius4 ,it is quite true that genius must be trained or it will fall into many errors and exaggerations1 there are many who1 guided by feeling alone1 put such an amount of individuality and what is commonly termed expression into their performances1 that the listener1 led away by the rush of passion1 overlooks the many errors with which the performance abounds4 ,it is for the student to cultivate a style which shall satisfy the most refined tastes1 at the same time infusing as much of his own personality and feeling into the delivery as the nature of the composition will admit4 ,it is a difficult matter to give any absolute rules for the guidance of young players1 let us1 however1 consider what constitutes a fine delivery4 ,the first essential is beauty of tone2 it is recorded of ,jenny ,lind--an artist with a reputation more unique it would be difficult to find--that the quality of her voice was of such beauty that even the ordinary diatonic scale sung slowly1 was enough to create the utmost enthusiasm4 ,one writer describes the pleasure experienced from hearing the tone of her voice only1 as that obtained by the sight of pure1 brilliant colour2 thousands who heard this great singer were melted to tears1 even when the work was quite unintelligible to the majority of them2 this was occasioned chiefly by the natural pathos in the tone of her voice1 added to a personality as simple as sincere4 ,the performer should always consider that tone is the fundamental matter with which he works2 as a rule tone is generally thought to mean big tone1 but this is not necessarily so2 beautiful1 sweet1 brilliant tone should be the aim1 big tone if possible1 but never at the expense of quality1 variety and phrasing4 ,the next matter of importance is a correct conception of tempo2 as some writer has remarked1 it is possible to transform a scherzo into a funeral march by a wrong conception of tempo4 ,this is a matter of great importance1 but also a matter in which some of our finest players and conductors differ to an alarming extent4 ,in the case of solo players this may be excused1 as the tempo which may suit the characteristics of one player would perhaps be quite dull if adopted by a soloist with quite a different style4 ,in the case of conductors1 however1 it is to be feared that much of this difference arises from a desire to be thought original1 even at the expense of all tradition4 ,in determining the tempo of a composition the character and general build of the work itself is the only guide4 ,the third essential is a faithful reproduction of all the dynamic effects marked by the composer1 as well as all the varieties in tempo such as ritards1 calando passages1 accelerandos1 etc41 etc42 beyond this may be again mentioned the different varieties of tone1 the playing of certain passages on one string in preference to another1 artificial shifting for the purpose of a correct phrasing1 the increasing or retarding of the tempo other than marked by the composer2 these latter liberties are only applicable to compositions of the lyric or romantic type1 in the delivery of which it is needful to introduce the emotional element1 and are not intended to be introduced in compositions which depend solely or chiefly on rhythm for their effect4 ,under the latter head may be classed mazurkas1 tarantelles1 etc41 and nearly all dance movements1 except those of the sentimental type4 ,the fugue also comes under the same head1 it is possible to express rhythm in musical notation but not emotion1 and it must be remembered that the fugue is the outcome of a highly trained intellect1 and not the outcome of inspiration in its independent sense4 ,the fugue is really paper music1 it is possible to write more than could possibly be imagined1 this also applies in some degree to pieces of a highly contrapuntal nature4 ,in concluding this part of our subject it may be recommended to the player to learn to anticipate effects--to hear in advance that which he is about to play4 ,expression is the manifestation of impression1 if the performer is not sensitive to the generating causes of expression--if these make no impression on him1 it will be impossible for him to feel what he is playing1 this system of reading in advance allows the performer to thoroughly grasp the musical phrase1 and to give it a sensible intelligent treatment4 ,in playing at sight1 or in the performance of concerted music1 this is of great importance4 ,the foregoing remarks on individuality of interpretation do not apply to the performance of concerted music2 in playing trios1 quartets1 and especially in orchestral work the performers must sink their own individuality1 for the sake of the general effect3 in orchestral playing1 purity of intonation1 a strict and decided division of the notes1 and especially in large orchestras1 what may be termed an exaggerated interpretation of the dynamics1 must form the basis4 ,all artificial shifting must be dispensed with1 gliding along the strings must also not be indulged in1 except in some unison passages where all the players can decide to finger the passage in the same manner2 passages marked piano must be played throughout piano1 and not as in solo work1 be varied by slight crescendos1 etc41 according as the passage rises or falls1 etc4 ,the reader will readily understand that a theme played pianissimo by a half-dozen 'cellos will have an entirely different effect than the same theme played by one instrument1 even if the same body of tone is produced4 ,a number of instruments playing in unison impart a grandeur to a passage which is quite characteristic2 it must be remembered that composers have this effect in their minds when writing for strings in the orchestra4 ,the conception of the work and its manner of delivery rests entirely with the conductor1 each player for the time being must accept his reading1 and be as subservient to the will of the conductor as are the keys of a pianoforte to the fingers of the musician4 ,in concluding it is as well to remember that we are not all constituted alike2 some are born to be leaders1 they have will1 individuality1 originality2 others are more fit to be lead1 they can accomplish much under the guidance of some master mind1 but if left to themselves are utterly useless4 ,to place a fine solo player in an orchestra would be equal to compelling the general of an army to serve in the line4 ,the reverse is not always the case1 there are many who although brilliant and successful in the orchestra are useless for any other branch of playing4 ,let each one perfect himself in the branch of art for which he is most suited2 exactly as it is impossible for a musician to be master of more than one instrument1 so it is impossible to arrive at perfection in every branch of music4 ,there are many fine solo players who have had long experience with the orchestra1 but they have been soloists in spite of this4 ,,the ,,end4 ,,tenth ,,year ,,of ,,issue4 ,the ,largest ,circulation in the ,world of any paper amongst ,violinists ,,the ,,strad ,a ,monthly ,journal for ,professionals and ,amateurs of all ,stringed ,instruments played with the ,bow4 ,published on the ,first of every ,month4 ,price #b;d41 ,annual ,subscription1 ,post ,free1 #bs4 #f;d4 ,,the ,,strad is the only recognised organ of the string family and has subscribers in every country of the civilised world4 ,our circulation has increased to so great an extent that we are enabled to engage as contributors ,,the ,,leading ,,writers in the ,,violin ,,world4 ,the following eminent ,authors1 ,critics and ,players are writing for the paper3 ,,john ,,dunn1 ,,esq41 ,,gerard ,e4 ,,hodgkin1 ,,esq41 ,b4,a41 ,,dr4 ,,churchill ,,sibley1 ,,horace ,,petherick1 ,,esq41 ,,dr4 ,t4 ,l4 ,,phipson1 ,,arthur ,,broadley1 ,,esq41 ,e4 ,,van ,,der ,,straeten1 ,,esq41 ,,john ,,day1 ,,esq41 ,,rev4 ,h4 ,,palmer1 ,b4,a41 ,,lancastrian1 ,,andre ,,la ,,tarche1 ,,esq41 ,e4 ,,polonaski1 ,,esq41 ,,robin ,h4 ,,legge1 ,,esq41 ,,basil ,,althaus1 ,,esq41 c41 c4 ,,the ,,strad gives every month a beautifully executed portrait on fine art paper1 of some leading celebrity in the violin world1 together with a biographical sketch2 and also smaller portraits of people in whom the violin world takes an interest4 ,thus1 among others1 portraits and notices of the following have appeared3 ,dr4 ,joachim1 ,f4 ,louis ,schneider1 ,lady ,hall1 ,l4 ,j4 ,massart1 ,emile ,sauret1 ,pietro ,nardini1 ,ludwig ,straus1 ,marie ,soldat1 ,george ,craske1 ,carl ,courvoisier1 ,robert ,lindley1 ,henri ,marteau1 ,gabriele ,wietrowetz1 ,j4 ,t4 ,carrodus1 ,paganini1 ,louis ,ries1 ,leo ,stern1 ,piatti1 ,c4 ,dancla1 ,sarasate1 ,johannes ,wolff1 ,guido ,papini1 ,nettie ,carpenter1 ,e4 ,f4 ,arbos1 ,joseph ,hollman1 ,andre ,la ,tarche1 ,j4 ,b4 ,vuillaume1 ,john ,dunn1 ,rosa ,hochman1 ,joseph ,ludwig1 ,willy ,burmester1 ,alfred ,gibson1 ,alfred ,burnett1 ,henry ,saint-,george1 ,achille ,rivarde1 ,n4 ,r4 ,scalero1 ,richard ,gompertz1 ,felice de ,giardini1 ,frye ,parker1 ,marie ,soldat-,rger1 ,david ,popper1 ,franz ,ondricek1 ,irma ,seth1 ,louis ,pecskai1 ,jan ,van ,oordt1 ,i4 ,b4 ,poznanski1 ,eugene ,ysaye1 ,henry ,such1 ,w4 ,h4 ,squire1 ,leonora ,jackson1 etc4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,i4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,the ,,strad ,,library ,,edition is the only ,authorised ,edition of ,technics of ,violin ,playing ,,on ,,joachim',s ,,method ,,by ,,carl ,,courvoisier4 ,with ,folding ,plates1 ,containing ,fifteen ,illustrations4 ,,letter ,,from ,,dr4 ,,joachim ,,copy4 ,,my ,,dear ,,mr4 ,,courvoisier3 ,i have read the book on ,violin ,playing you have sent me1 and have to congratulate you sincerely on the manner in which you have performed a most difficult task1 i4e41 to describe the best way of arriving at a correct manner of playing the violin4 ,it cannot but be welcome to thoughtful teachers1 who reflect on the method of our art1 and ,i hope that your work will prove useful to many students4 ,believe me1 my dear ,mr4 ,courvoisier1 to be most faithfully yours1 ,,joseph ,,joachim4 ,berlin1 ,november #crd1 #ahid4 ,the ,new and ,revised ,edition of ,technics of ,violin ,playing issued by ,the ,strad is the only authorised edition of my work4 ,the several ,english editions which have all appeared without my knowledge are incomplete and faulty4 ,,carl ,,courvoisier4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,,ii4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free1 #b_/i4 ,,how ,,to ,,study ,,the ,,violin ,by ,j4 ,t4 ,,carrodus ,,contents4 ,strings and ,tuning4 ,the ,bow and ,bowing4 ,faults and their ,correction4 ,scales and their ,importance4 ,course of ,study4 ,advice on ,elementary ,matters4 ,concerning ,harmonics1 ,octaves1 etc4 ,orchestral ,playing4 ,some ,experiences as a ,soloist4 ,with full page portraits of ,carrodus1 ,molique1 ,paganini1 ,spohr1 ,sivori1 ,de ,beriot1 ,blagrove and ,sainton1 and a photo-reproduction of ,dr4 ,spohr's testimonial to ,carrodus4 99 99 99 99 99 ,an interesting series of articles ',how to ,study the ,violin1' which ,carrodus contributed to ,,the ,,strad1 and completed only a week or two before his death1 have now been collected in cheap book form4 ,the technical hints to violin students1 which are practical1 plainly worded1 and from such a pen most valuable4--,daily ,news4 ,but a few weeks before his sudden death the most distinguished of native violinists completed in ,,the ,,strad a series of chats to students of the instrument associated with his name4 ,these chats are now re-issued1 with a sympathetic preface and instructive annotations4 ,all who care to listen to what were virtually the last words of such a conscientious teacher will recognise the pains taken by ,carrodus to render every detail as clear to the novice as to the advanced pupil4 ,pleasant gossip concerning provincial festivals at which ,carrodus was for many years 'leader' of the orchestra1 ends a little volume worthy a place in musical libraries both for its practical value and as a memento of the life-work of an artist universally esteemed4--,daily ,chronicle4 ,it is surely1 hardly necessary to direct the attention of students to the unique value of the hints and advice given by so experienced and accomplished a virtuoso as the late ,mr4 ,carrodus1 so that it only remains to state that the ',recollections' make delightful reading1 and that the book1 as a whole1 is as entertaining as it is instructive4 ,the value of the brochure is enhanced by an excellent portrait of ,mr4 ,carrodus1 as well as of a number of other violin worthies1 and the printing1 paper1 and get up generally are good as could possibly be4--,musical ,answers4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,,iii4 ,crown #hvo41 ,cloth #b_/f1 ,post ,free #b_/i4 ,,the ,,bow ,its ,history1 ,manufacture and ,use ,,by ,,henry ,,saint-,,george4 ,with ,full ,page ,illustrations 7exact size7 by ,photo ,process4 99 99 99 99 99 ,,mons4 ,,emile ,,sauret writes--,i have read it with great interest1 and think that it supplies a real want in giving musicians such an excellent description of all matters referring to this important instrument4 ,,signor ,,guido ,,papini writes--,thanks so much for your splendid and interesting book4 ,you are quite successful and all the artists and amateurs are indebted to you for a so exact and correct ',texte' on the subject4 ,,adolf ,,brodsky writes--,i am delighted with the book and find it very instructive1 even for those who think to know everything about the bow4 ,it is very original and at times very amusing4 ,no violinist should miss the opportunity to buy it4 ,,the ,,times4--,a useful treatise on the ,bow1 in which the history1 manufacture and use of the bow are discussed with considerable technical knowledge4 ,,daily ,,telegraph4--,to the student there is much of interest in the work1 which has the advantage of being copiously illustrated4 ,,daily ,,news4--,this book seems practically to exhaust its subject4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,,iv4 ,crown #hvo41 ,cloth #e_/-1 ,post ,free #e_/d4 ,,celebrated ,,violinists1 ,,past ,,and ,,present ,translated from the ,german of ,a4 ,,ehrlich4 ,and ,edited with ,notes and ,additions by ,,robin ,h4 ,,legge4 ,,with ,,eighty-,,nine ,,portraits4 ,,press ,,notices4 ,those who love their fiddles better than their fellows1 and who treasure up every detail that can be found and recorded about their favourite and cherished players will not fail to provide themselves with a copy of this book4--,musical ,opinion4 ,this book of #bhj pages is a most interesting and valuable addition to the violinist's library4 ,it contains #hi biographical sketches of well-known artists1 ancient and modern1 of all nations4 ,this is not intended to be a perfect dictionary of violinists2 the aim of the ,editor of the present volume being merely to give a few more up-to-date details concerning some of the greatest of stringed instrument players1 and we must concede that no name of the first importance has been omitted4 ,germany is represented by #ba names1 ,italy by #ac1 ,france by #aj1 ,england by #d1 ,bohemia by #h1 ,belgium by #g1 and the fair sex by seven well-known ladies1 such as ,teresina ,tua1 ,therse and ,marie ,milanollo1 ,lady ,hall1 ,marie ,soldat1 ,gabrielle ,wietrowetz1 and ,arma ,senkrah4 ,altogether this is most agreeable reading to the numerous array of violinists1 both professionals and amateurs1 and after careful examination we can find nothing but praise for this translation into ,english of a book well-known on the ,continent4--,the ,piano1 ,organ and ,music ,trades ,journal4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,v4 ,crown #hvo41 ,cloth #b_/f1 ,post ,free #b_/i4 ,,technics ,,of ,,violoncello ,,playing ,,by ,e4 ,,van ,,der ,,straeten4 ,,copiously ,,illustrated4 ,copy of ,letter received by the ,author from the great 'cellist1 ,,signor ,,alfred ,,piatti4 ,cadenabbia1 ,lake of ,como1 ,march #ith1 #ahih4 ,,dear ,,sir1--,i received the book you kindly sent me on ,the ,technics of ,violoncello ,playing1 which ,i found excellent1 particularly for beginners1 which naturally was your scope4 ,with many thanks for kindly remembering an old ex-violoncello player4 ,believe me1 yours sincerely1 ,,alfred ,,piatti4 ,copy of ,letter received by the ,author from the eminent 'cellist1 ,,herr ,,david ,,popper4 ,budapest1 ,february #bbnd1 #ahih4 ,,dear ,,sir1--,in sending me your book on ,the ,technics of ,violoncello ,playing you have given me a real and true pleasure4 ,i know of no work1 tutors and studies not excepted1 which presents so much valuable material1 so much that is absolutely to the point1 avoiding--,i might say1 on principle--all that is superfluous and dispensable4 ,every earnest thinking violoncello student will in future make your book his own and thereby receive hints which will further and complete the instructions of his master4 ,i congratulate you and ourselves most heartily on the new violoncello book4 ,with kind regards1 ,yours most sincerely1 ,,david ,,popper4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,strad ,,library1 ,no4 ,,vi4 ,crown #hvo41 ,cloth1 #b_/f1 ,post ,free #b_/i4 ,,violin ,,playing ,,by ,,john ,,dunn ,,contents ,,introductory--,qualities indispensable to the ideal ,violinist--,hints on the ,choice of a ,teacher--,some ,tricks of pretending professors exposed4 ,,on ,,the ,,choice ,,of ,a ,,violin ,,and ,,bow--,advice regarding general adjustment and repairs4 ,,on ,,the ,,choice ,,of ,,strings--,stringing the ,instrument and keeping the ,pegs in ,order4 ,,on ,,the ,,general ,,posture--,the manner of holding the ,violin and ,bow as accepted by the leading artists of the day4 ,,on ,,fingering ,,generally--,the various positions--,scales recommended--,the ,modern ,orchestral ,principal or 7so-called7 ,leader4 ,,on ,,gliding--,special ,characteristics of some of the most ,eminent ,players4 ,,double ,,stopping--,the main difficulty in ,double ,stopping--,how to gain independence of ,finger4 ,,bowings--,smooth ,bowings--,solid ,staccato--,spiccato--,spring ,bow--,mixed ,bowings4 ,,tone ,,production--,character of ,tone--,rules and ,condition necessary to produce a good tone--,style and ,expression4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,,the ,,old ,,strad4 ,by ,,lionel ,j4 ,,cowen4 ,prints from this celebrated ,picture1 exhibited at the ,royal ,academy in #ahhf1 engraved in the most admirable manner1 in ,photogravure4 ,the size of the engraved surface is #ai by #ad inches4 ,artist's ,proofs1 limited to #ajj #d #d #j ,prints on ,indian ,paper1 limited to #bej #b #b #j ,prints #a #a #j ,,press ,,notices4 ,among the recent art publications1 of which the increasing number gives the measure of popular appreciation1 may be mentioned the production of ,l4 ,j4 ,cowen's ',the ,old ,strad4' ,the picture was exhibited at the ,royal ,academy as far back as #ahhf1 and attracted considerable attention on account of the thoroughly ,dutch feeling and humour the artist had thrown into his work4 ,it has now been reproduced by the ,swan ,electric ,engraving ,company1 of which the methods are probably unsurpassed by any other process in this country4 ,how far it can compete with other processes in the matter of cost is another matter4--,illustrated ,london ,news4 ,under the title1 ',the ,old ,strad1' is published a reproduction of ,mr4 ,lionel ,j4 ,cowen's picture1 which represents a mender of violins carefully surveying a famous old fiddle4 ,the subject is very well suited to reproduction in black and white1 it is of special interest to those who watch the reproductive arts grouped under the term of ,photogravure4--,art ,journal4 ,mr4 ,lionel ,cowen's ',old ,strad4' ,the softness and tone of the plate is remarkable4--,daily ,chronicle4 ,the ,old ',strad4' ,an important print from the celebrated picture of a connoisseur inspecting a genuine ,stradivarius1 by ,lionel ,j4 ,cowen1 exhibited at the ,royal ,academy in #ahhf4 ,the picture has been reproduced in a most admirable manner1 in photogravure1 by the ,swan ,electric ,engraving ,company1 of ,london1 and cannot fail to have a ready sale amongst violinists1 musical instrument makers1 and all who take an interest in thoroughly genuine works of art4--,morning ,advertiser4 ,of the illustrations1 incomparably the best is ',the ,old ,strad1' a photogravure of a painting by ,mr4 ,lionel ,cowen4 ,as a realisation of quiet ecstacy1 it is almost perfect4--,the ,spectator4 ',the ,old ,strad4' ,we know of no picture in recent years that could give such keen pleasure to the fiddle-lover and confidently recommend our readers to become possessors of the early prints4--,violin ,times4 99 99 99 99 99 ,,london3 ,,strad ,,office1 #c1 ,,green ,,terrace1 ,,rosebery ,,avenue1 ,e4,c4 ,transcriber's ,note3 ,every effort has been made to replicate this text as faithfully as possible4 ,italic text has been marked with underscores4 ,musical symbols which are not available as ,unicode characters are represented by symbol4 ,the following is a list of changes made to the original4 ,the first line is the original line1 the second the corrected one4 action of the wrist1 form-arm1 and upper arm during action of the wrist1 fore-arm1 and upper arm during the above passage at sight1 without the slighest difficulty1 the above passage at sight1 without the slightest difficulty1 its relation to the five open strings1 the hand of the its relation to the four open strings1 the hand of the the larnyx4 ,the 'cellist has sometimes to make a sweep the larynx4 ,the 'cellist has sometimes to make a sweep as perfect fifths1 fourths1 major and minor sixth1 thirds1 as perfect fifths1 fourths1 major and minor sixths1 thirds1 of these are the trill1 or shake 7tr71 the praltriller1 of these are the trill1 or shake 7tr71 the pralltriller1 former is met with in ,popper's well-known ,elfantanz4 former is met with in ,popper's well-known ,elfentanz4 ,paganini the wierd1 fiery ,italian1 astonishing the world ,paganini the weird1 fiery ,italian1 astonishing the world accellerandos1 etc41 etc42 beyond this may be again accelerandos1 etc41 etc42 beyond this may be again