,,*ats ,,to ',,cello ,,/ud5ts4 ,,pr9t$ ,,by ,e4 ,,%ore ,,& ,,co41 #c ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,,london1 ,e4,c4 ,illu/ration3 ,,ar?ur ,,broadley4 ,,! ,,/rad ,,libr>y4 ,no4 ,,vii4 ,,*ats ,,to ',,cello ,,/ud5ts ,,by ,,ar?ur ,,broadley ,,copyright4 ,london3 ,,! ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,e4 ,,donaj[ski1 #bf1 ,,ca/le ,,/reet1 ,,b]n]s ,,/reet1 ,w4 ,d4 ,r4 ,,duncan1 #ahf1 ,,fleet ,,/reet1 ,e4,c4 #ahii ,,cont5ts4 ,,page ,,*apt] ,i4--,prelim9>y ,rem>ks--',cello ,difficult to ,ma/]--,*oice ( a ,tea*]--,*oice ( an ,in/rum5t & ,b[ #a ,,*apt] ,,ii4--,h[ to ,hold ! ,in/rum5t--,attitude ( ! ,play]--,use ( a ,slid+ ,p9 ,recomm5d$--,correct ,way ( ,hold+ ! ,b[--,"s ,incorrect ,sket*es ( ,same #f ,,*apt] ,,iii4--,g5]al ,k--,ecc5tricity n ,necess>ily a ,m>k ( ,g5ius--,musical ,notation--,common ,errors ) ,respect to ! ,actual ,position ( ! ,v>i\s ,clefs--,t5or ,clef ,indisp5sable to ! ',celli/ #ab ,,*apt] ,,iv4--,e>ly ,attempts at ',cello ,play+--,firmness 9 ,f+]+--,! ,left ,h&--,correct ,me?od ( ,plac+ ! ,left ,h& ,f+]s #ag ,,*apt] ,v4--,g5]al ,rem>ks on ,b[+--,useful ,me?od ( ,comb9+ ,scale ,practice ) ,/udy ( ,v>i\s ,b[+s--,smoo? ,b[+s--,cresc5do--,dim9u5do--,! ,slur #bj ,,*apt] ,,vi4--,b[+ ,cont9u$--,m>tel--,deta*$ ,/roke--,mix$ ,b[+s--,! ,v>i\s ,divisions ( ! ,b[ #bh ,,*apt] ,,vii4--,on ,/accato ,b[+--,spiccato--,slurr$ ,spr++-,b[--,v>ieties ( ,phras+ ,occasion$ by ! ,portion ( ,b[ ,us$--,sautill--,dott$ ,notes #cc ,,*apt] ,,viii4--,on ! ,positions--,! ,individual ,requirem5ts ( ! ,or*e/ral ,play] & ,soloi/--,! ,necessity ( ,/ret*+ = ! ,int]vals--,! ,locality ( ! ,neck ,positions--,! ,enh>monic ,diff]5ce ( ,%>p & ,flat ,keys--,absolute ,pit*--,h[ to ,leap any ,awkw>d ,int]val--,! ,positions n ,det]m9$ by ,ma!matical ,rules1 b by ! ,e>--,%ift+--,economy ( ,motion v4 ,effect--,*oice ( ,positions #db ,,*apt] ,,ix4--,portam5to--,! ,v>i\s ,uses ( ,gild+--,"s ,exagg]ations ,expos$--,h[ to ,leap ,great ,int]vals )\t ,h[l+--,comb9ation ( ,gliss&o & ,s=z&o #ed ,,*apt] ,x4--,d\ble-,/opp+--,useful 9 ,develop+ ! ,h&--,h[ to ,det]m9e ! ,f+]+ ( ,v>i\s ,int]vals--,glid+ 9 ,d\ble ,/ops--,*ords--,a ,correct ,mann] ( ,play+ ,*ords #fa ,,*apt] ,,xi4--,arpeggios--,_! ,evolution f ,v>i\s ,*ords--,! ,b[+ ( ,arpeggios #fg ,,*apt] ,,xii4--,graces & ,embelli%m5ts--,! ,use ( ! ,?umb--,ext5sions--,octaves #gc ,,*apt] ,,xiii4--,sci5tific ,basis ( ,h>monics--,"s ,peculi> ,laws :i* ,gov]n a ,vibrat+ ,/r+--,natural & ,artificial ,h>monics--,mann] ( ,b[+ ,h>monics#hb ,,*apt] ,,xiv4--,special ,effects--,trick ,/accato--,v>i\s ,me?ods ( ,produc+ ,*romatic ,scale ,passages--,sul ,ponticello ,b[+ & ,b[$ ,h>monics--,flaut&o--,pizzicato ,glide & ,grace ,notes6 #hi ,,*apt] ,,xv4--,deliv]y--,/yle--,=m v4 ,feel+--,conception--,ess5tials ( a ,f9e ,deliv]y--,or*e/ral ,play+ #id ,,preface4 ,9 introduc+ ?is little "w on ,violoncello ,play+1 a few words ( ?anks & explanation are p]haps necess>y4 ,my ?anks are due to ! pr(essional fri5ds1 & /ud5ts--& also to o!rs ) :om ,i am n p]sonally acqua9t$1 :o h spok5 or writt5 conc]n+ ! b5efit !y h d]iv$ f ! /udy ( ! ,*ats dur+ ! s]ial run 9 ,,! ,,/rad4 ,x is a great pleasure to f9d t ?r\gh ! p]usal ( ^! crude lit]>y ef=ts1 "s few h d]iv$ pleasure or assi/ance--t "s difficulty has be5 made easi] ( ma/]y4 ,an explanation w assi/ any :o fail to realize ! limitations & int5tions ( a "w ( ?is description4 ,9 ! fir/ place x is impossible to ?or\ghly exhau/ ! :ole sci5ce & art ( 'cello te*nique & 'cello play+2 recognis+ ?is1 x has be5 my aim to draw on my own exp]i5ce z a tea*] ( ! in/rum5t1 r ?an foll[ 9 ! trail ( any exi/+ "w4 ,) respect to ! int5tions ( ! "w1 no?+ c equal viva-voce in/ruction & ! p]sonal sup]vision ( a good ma/]1 b x is to be fe>$ t _m :o are really tal5t$ _c af=d lessons f anyone :o is ?or\ghly capable ( direct+ _! /udies--x is ?is class ( play] :o w d]ive ! mo/ b5efit f a consci5ti\s /udy ( ! ensu+ pages2 may ! in/ructions conta9$ !re91 direct & /imulate him to t :i* is good & arti/ic4 ,,ar?ur ,,broadley4 ,,brad=d1 ,,yorks41 ,janu>y1 #ahii4 ,,*ats ,,to ',,cello ,,/ud5ts ,,*apt] ,i4 ,,prelim9>y ,,rem>ks--,,! ',,cello ,,difficult ,,to ,,ma/]--,,! ,,*oice ,,( ,a ,,tea*]--,,*oice ,,( ,,an ,,in/rum5t ,,& ,,b[4 ,sev]al works ( m or less excell5ce h already be5 writt5 on ! violoncello & its /udy4 ,x is all ! m difficult !n to write a "w treat+ on ! :ole subject ( 'cello play+1 )\t 9 "s measure go+ ov] ! gr\nd t has already be5 cov]$ by previ\s writ]s4 ,z ,i h f\nd1 h[ev]1 t c]ta9 bran*es ( ?is int]e/+ /udy h receiv$ b scant treatm5t1 & 9 "s cases h ev5 be5 completely ignor$1 ,i h direct$ my special att5tion to ^! subjects2 ?us1 mu* t has be5 pass$ ov] 9 exi/+ works w be f\nd to h "h receiv$ due treatm5t4 ,?r\gh\t ! :ole ( ! pres5t "w1 ,i h endeav\r$ to clo! ! matt] 9 z orig9al a mann] z possible1 & putt+ aside all /]eotyp$ phrases1 h tri$ to write 9 ! same language t ,i w\ld express myself 9 to a pupil hav+ a c\rse ( actual lessons4 ,if by s do+1 any?+ t ! /ud5t may h pass$ ov] z be+ unimportant1 n[ =ces itself ^u him1 my aim w be accompli%$4 ,9 v>i\s p>ts ( ! "w ,i h endeav\r$ to introduce ! read] to "s ( ! high] bran*es ( 'cello play+1 z f> z x is possible ?r\gh ! m$ium ( lit]ature1 b x mu/ be und]/ood t any treatise on ! high] bran*es ( music c only be ( a g5]al "*1 ! laws :i* gov]n musical expression1 or ^? 9 connection ) ! deliv]y ( a musical composition are s fugitive1 & play]s v>y s mu* 9 ! obs]vation1 or disreg>d ( !m1 accord+ to _! individual temp]am5t1 etc41 t to give any h>d & fa/ rules w\ld only be to put fett]s on all individuality4 ,if ! /ud5t is really musical he w obta9 ! be/ results 9 ?is direction1 by he>+ our fir/ class arti/s int]pret ! works ( ! great ma/]s3 by ?us br++ 8 faculties ( obs]vation & imitation into use1 he w gradually absorb "s ( _! /yle1 :i* 9 due "t w ass]t itself 9 8 own p]=mance4 ,,! ',,cello ,a ,,difficult ,,in/rum5t ,,to ,,ma/]4 ,if ! read] has already comm5c$ ! /udy ( ! 'cello1 x w be advisable = ei!r 8 p>5ts or himself to make direct enquiries ( 8 pr(essor1 :e!r ! latt] ?9ks ! pupil is suffici5tly gift$ to cont9ue ! /udy ( ?is mo/ difficult in/rum5t4 ,( c\rse e 'cello play] _c be a ,beck] or a ,kl5gel1 b unless ! /ud5t has a v correct e>1 & if he is old en\gh a fair am\nt ( ambition1 x w\ld be bett] = him to /udy "s less exact+ in/rum5t2 t is if he feels compell$ to le>n some?+4 ,! piano is g5]ally suppos$ to be ! fallback classical in/rum5t1 b ,i w\ld n recomm5d ?is1 we h q en\gh piano play+ ( ! second & ?ird & ! atroci\s ord]1 )\t viol9 & 'cello ca/-(fs try+ _! h& at x4 ,i d n "k ( a m pa!tic sight1 ?an to see a y\? ) no musical gifts :atev]1 wa/+ ! be/ ye>s ( 8 life1 & 8--or 8 p>5ts'--money1 9 ! /udy ( an in/rum5t = :i* he has no natural capabilities4 ,p]sev]ance1 al?\gh a v e/imable gift1 nev] yet by itself made an arti/1 ! real arti/ is an arti/ because x is impossible = him to be any?+ else4 ,nev]!less if ! pupil c feel assur$ t he has a fairly f9e e>1 capable ( easily di/+ui%+ ! diff]5ce 9 musical pit*1 & a natural feel+ = rhy?m1 he w be ju/ifi$1 provid+ he likes music almo/ bett] ?an any?+ else1 9 tak+ up ! /udy ( an in/rum5t1 :i* = solo "w ranks ) ! viol9 = difficulties4 ,,! ,,*oice ,,( ,a ,,tea*]4 ,! pupil is caus$ to suff] mu* inconv5i5ce & p]haps ev5 spoil$ altoge!r = any real arti/ic "w1 if 8 e>ly /udies are n direct$ 9 an effici5t mann]4 ,"o smiles :5 "o sees an adv]tisem5t 9 a local morn+ pap] aft] ! foll[+ fa%ion4 ,mr4 ----1 ,pr(essor ( ,music4 ,lessons on ,piano6 ,s++6 ,viol96 ',cello6 ,guit>6 & ,zi!r6 also ,fr5*6 & ,g]man6 ,all "o man1 rememb]1 n half-a-doz51 & yet le>n$ z he evid5tly is1 ,i w\ld n tru/ him to %[ a pupil h[ to hold 8 b[ correctly4 ,if ! /ud5t resides 9 or ne> ,london1 he w obta9 bett] results1 & 9 ! long run w f9d t x co/s him less1 to connect himself ) "o ( ! recognis$ in/itutions1 su* z ! ,royal ,academy ( ,music or ! ,guildhall ,s*ool ( ,music4 ,to be recomm5d$ by "o ( ^! in/itutions is to obta9 ! passport into ! highe/ musical circles4 ,9 ! prov9ces ! *oice ( a good 'cello tea*] is n s great1 ! read] w d well to rememb] t be+ a memb] ( "s fairly well kn[n or*e/ra1 is n always a gu>antee ( excell5ce1 sometimes influ5ce1 or money1 or p]haps bo? h be5 ! means ( obta9+ ! covet$ position4 ,! /ud5t w d bett] !n to h lessons f someone :o is kn[n to be a ma/] ( 8 in/rum5t1 & if x %\ld happ5 t ! tea*] is a bett] play] ?an an expon5t ( ! art ( 'cello play+1 if ! /ud5t c>efully wat*es 8 /yle1 & he>s him play (t51 he w at lea/ le>n h[ a composition ought to be p]=m$1 ev5 if he is compell$ to f9d out = himself h[ ! me*anical "p ( its production is accompli%$4 ,i "k "o ( our fir/ class tea*]s 7viol97 :o seldom takes ! in/rum5t into 8 h&s dur+ a lesson1 cont5t+ himself ) v]bal explanations2 ?is1 unless ! /ud5t is above ! av]age /&>d ( intellig5ce c nev] be productive ( really good results2 practical demon/rations g5]ally be+ f> m effective ?an m]e talk4 ,! pupil !n mu/ see t 8 tea*] c play ! ex]cises :i* he tea*es1 & %\ld ! tea*] make any objection to exhibit+ 8 skill 9 ?is fa%ion1 dep5d ^u x t ! lack ( x has a great deal to d ) x4 ,,! ,,*oice ,,( ,,an ,,in/rum5t ,,& ,,b[4 ,d n let my read] imag9e t 9 ! pres5t "w ,i am go+ to we>y him ) a long disc\rse on a matt] :i* is s mu* controll$ by ! l5g? ( ! purse2 ,i flatt] myself1 h[ev]1 t ! advice w at lea/ be s\nd4 ,to ^? :o c af=d to buy a real g5u9e ,cremona ( good "n1 ,i h no?+ :atev] to say2 if !y c af=d ?is1 !y c1 or ought = _! own satisfaction & safety1 to pay = pr(essional advice z to ! real m]it ( _! pur*ase4 ,x is to ! read]s ) a limit$ am\nt ( sp>e capital t ,i wi% to address myself1 & ,i w\ld tell !m t !re are a lot ( fairly old in/rum5ts ei!r ,g]man or ,fr5* copies ( "o or o!r ( ! e>ly ,italian ,s*ool1 t w be f\nd q good en\gh = solos4 ,^! in/rum5ts may h individual faults & weaknesses1 b ! play] w gradually f9d ^! out & le>n to hum\r !m4 ,( ! old ,engli% in/rum5ts ,i w\ld advise ! read] to bew>e1 a lot ( !m al?\gh ( good wood & passable v>ni%1 yet manage to h "s m or less irrep>able fault n readily disc]nible at fir/ sight4 ,an in/rum5t ( ?is class ,i h 9 m9d1 a beautiful 'cello spoil$ ) ! f holes be+ cut ab\t half _! l5g? too l[1 mak+ x impossible to play a =te passage on ! ,a /r+ ow+ to ! b[ com+ 9 contact ) ! l[] corn]s2 s t ?is w\ld n be readily notic$ a f+]bo>d _h be5 fitt$1 :i* 0 ab\t ?ree in*es long] ?an is usual4 ,o!rs are ?9 9 ! wood1 caus+ wolf notes 9 v>i\s positions4 ,^! latt] rem>ks ref] m p>ticul>ly to nameless old ,engli% in/rum5ts ( ! home-made type1 & ( c\rse d n apply to ! be/ "w ( su* mak]s z ,=/]1 ,banks1 ,?ompson1 ,joseph ,hill1 etc41 _m specim5s ( :i* h a p>ticul>ly f9e tone4 ,to ! "y play] buy+ an in/rum5t = life1 if upw>ds ( #ae c be giv5 x is f> bett] to pur*ase an entirely new "o ( good make1 ( a model suit$ to ! individual ta/e ( ! /ud5t2 by ! "t he has work$ "s t5 or a doz5 ye>s on x he w h br\ght out mo/ ( ! beauties ( tone :i* ! in/rum5t is capable ( giv+4 ,a really good new in/rum5t improves m rapidly ?an is g5]ally admitt$--) good h>d ex]cise "w 9 all ! positions4 ,9 *oos+ a b[ ,dodd & ,t\rte are names to conjure )1 b happily !re are no lo/ secrets 9 ! art ( b[ mak+1 & =tunately a new b[ aft] a few weeks use is bett] ?an an old "o1 !re=e ! craze = old b[s except ) collectors & ri* amateurs1 w nev] be s pron\nc$ z is ! case ) old in/rum5ts4 ,if ! /ud5t c pay say a c\ple ( sov]eigns1 he mu/ consid] himself trick$ if he does n secure a b[ good en\gh = any sort ( "w1 & "o :i* w ) c>e la/ = ye>s4 ,i h lately come across "s ,fr5* b[s )\t any "n1 retail$1 ,i believe1 at ab\t ?irty %ill+s1 :i* are v f9e inde$1 nice & light ) pl5ty ( spr+4 ,"s recomm5d a second-h& b[1 say+ t 9 buy+ "o t has be5 us$ ! faults1 if any1 w h made _! appe>ance1 b z x is h>dly possible to tell :e!r a b[ has be5 mu* us$ unless ! /ick is v badly worn1 ?is is h>dly s\nd4 ,buy f a consci5ti\s deal]1 pay a fair price & tru/ to x1 t is all t c be done4 ,,*apt] ,,ii4 ,,h[ ,,to ,,hold ,,! ,,in/rum5t--,,! ,,attitude ,,( ,,! ,,play]--,,! ,,use ,,( ,a ,,slid+ ,,p9 ,,recomm5d$--,,correct ,,way ,,( ,,hold+ ,,! ,,b[--,,"s ,,incorrect ,,sket*es ,,( ,,same4 ,,attitude ,,( ,,! ,,play]4 ,mo/ pupils are surpris$ ,i h no d\bt1 at ! evid5t discrepancy se5 9 ! plates usually publi%$ ) 'cello s*ools1 :5 comp>$ ) ! mann] 9 :i* our fir/ class arti/s hold _! in/rum5ts4 ,i w endeav\r 9 "s measure to expla9 ?is away4 ,! correct way to hold ! 'cello if ! in/rum5t is n fitt$ ) a slid+ p9 is z foll[s4 ,! play] to sit on ! front "p ( ! *air ) ! feet advanc$1 ! left a little m =w>d ?an ! "r4 ,! 'cello to be held ) ! legs1 ! l[] "p ( ! front edge 7table7 ( ! in/rum5t be+ held 9 position by ! "r calf--! edge ( ! back be+ support$ by ! left calf--! legs ( ! play] n to cov] ! ribs ( ! in/rum5t s t ! vibration is n imp$$4 ,! upp] "p ( ! back to ! "r ( :]e ! neck ( ! in/rum5t is fitt$ %\ld re/ aga9/ ! *e/ ( ! p]=m]1 ?is w ?r[ ! scroll ( ! in/rum5t a little to ! left ( ! face4 ,! in/rum5t to be held high en\gh = ! b[+ to cle> ! knees ( ! play]4 ,! ?umb to be plac$ 9 a horizontal position at ! back ( ! neck ( ! in/rum5t1 & %\ld be betwe5 ! fir/ & second f+]s4 ,! left elb[ n to be rais$4 ,?is !n is ! correct mann] ( hold+ ! 'cello4 ,if ! read] w look at ! plate :i* is publi%$ ) ei!r ! ,kumm] or ! ,seb4 ,lee in/ruction book1 he w f9d t ! figure !re agrees ) ! =ego+ rules 9 e p>ticul>4 ,if ! /ud5t makes use ( a slid+-p9 ^! in/ructions _c be obs]v$ 9 e respect1 ! legs are n requir$ to hold ! 'cello1 ! left knee alone be+ br\ght into use z a slight support--n to hold ! in/rum5t f ! gr\nd1 b to prev5t x f rock+ backw>ds & =w>ds4 ,illu/ration3 ,,fig #a4 ,9 ?is matt] ,i w\ld l ! /ud5t to und]/& t attitude does n assi/ 9 ! production ( music1 b d n let ! read] imag9e t if unnecess>y pos+ does n help1 awkw>d & unc\? positions ( ! play]s d n take away f ! effect4 ,any?+ :i* di/racts ! att5tion ( ! audi5ce f ! music %\ld be rigidly avoid$2 awkw>d attitudes1 & grotesque motions ( ! head & body %\ld !re=e be in/antly suppress$ by ! tea*] or ! private fri5ds ( ! /ud5t4 ,piatti1 :o does n use a 'cello peg1 holds 8 in/rum5t 9 a correct mann]1 n %uffl+ ab\t or v>y+ 8 position4 ,n[ if ! read] ev] has a *ance ( he>+ ,van ,bi5e1 let him obs]ve ! mann] 9 :i* t arti/ holds 8 'cello4 ,we h "h ! two extremes2 z ,piatti is ( ! /rictly correct ord]1 ,van ,bi5e is ( ! exagg]at$ arti/ic ord]1 all ! "t he is play+ con/antly /rik+ "s fre% attitude4 ,if ,van ,bi5e _h aga9 to take to conc]t "w1 ,i h no d\bt t he w\ld calm d[n a little 9 ?is respect1 8 exagg]at$ /yle :ile be+ v effective on ! /age1 w\ld n be tol]at$ on ! conc]t plat=m4 ,by all means let ! /ud5t use a slid+-p91 b let him take advantage ( ! great] facilities :i* are (f]$1 to make 8 attitude m arti/ic1 always adopt+ ! happy m$ium 9 ?is matt] at lea/1 correctness--)\t awkw>dness1 arti/ic grace--)\t unnecess>y va9 pos+4 ,z a fir/ class elocutioni/ seeks by attitude to help ! effect ( 8 words1 n to di/ract ! att5tion ( 8 audi5ce1 s ! attitude ( ! 'celli/ mu/ be pleas+ & easeful4 ,if ! /ud5t w comp>e 7,fig4 #a7 ) ! plates usually publi%$ ) 'cello s*ools1 especially ! two previ\sly m5tion$1 he w see ! importance ( ! matt]4 ,,h[ ,,to ,,hold ,,! ,,b[4 ,illu/ration3 ,,fig4 #b4 ,illu/ration3 ,,fig4 #c4 ,!re c be no dep>ture f ! ackn[l$g$ way ( hold+ ! b[ if ! be/ results are to be obta9$1 t is to say1 t ! rules mu/ be /rictly obs]v$ z f> z ! individual %ape ( ! h& w all[4 ,x w be obs]v$ t ! nut ( ! 'cello b[ is scoop$ out on ! inn] side1 :i* =ms two projections1 "o ( ^!1 ! l[] "o1 is surr\nd$ ) metal ?r\gh :i* ! hair ( ! b[ passes1 ! upp] projection fits aga9/ ! /ick4 ,! extreme tip ( ! ?umb %\ld be plac$ on ?is upp] projection 7,fig4 #b7 s t x is also p>tly on ! /ick1 ! ?umb be+ assi/$ 9 hold+ ! b[ by ! second & ?ird f+]s4 ,! second or middle f+] is s plac$ t ! tip t\*es or ov]laps ! hair close to ! l[] projection2 ! ?ird f+] falls naturally into its place next to ! second f+]1 & has its tip t\*+ ! metal1 or silv] f]rule on ! l[] projection 7,fig4 #c74 ,^! two f+]s & ?umb are all t are requir$ to hold ! b[1 ! f\r? f+] s]ves to balance ! b[ & %\ld be plac$ lightly on ! /ick1 its *ief "w be+ to prev5t ! b[ dropp+ too mu* :5 play+ at ! heel1 & to ease ! pressure on ! /r+s 9 v light passages4 ,la/ b n lea/ comes ! fir/ f+]2 ?is is ! memb] :i* is responsible = quality & quantity ( tone1 x %\ld h a slight b5d r\nd ! /ick1 & s t ! o!r f+]s d n int]f]e1 x %\ld be plac$ slightly ap>t1 ?is also helps to br+ out a l\d] tone if requir$4 ,! fir/ f+] l ! f\r? is n compell$ to rema9 /ation>y1 ?us 9 long semiquav] sautill passages1 :]e ! ext5d$ position ( ! fir/ f+] w\ld int]f]e ) ! natural spr+ ( ! b[1 x %\ld be made to relax its pressure & take a position ne>] ! second f+]2 aga9 9 long su/a9$ heavy notes ! fir/ f+] may be ext5d$ slightly1 s t m pressure may be put on ! b[4 ,^! la/ rem>ks are mo/ important1 z ! :ole success ( ! /ud5t's b[+ re/s on ! correct use ( ! fir/ f+]1 & ! prop] position ( ! ?umb4 ,i _c quit ?is subject )\t m5tion+ ! importance ( hav+ ! muscles1 especially ! t5dons on ! back ( ! h&1 p]fectly easy :5 ! b[ is 9 position4 ,to all[ ?is1 ! knuckles mu/ n protrude 9 ! lea/1 ! f+]s also help by be+ all[$ to b5d easily at _! middle jo9ts1 ! upp] phalanges hav+ an almo/ horizontal position ov] ! b[ 7,fig4 #b74 ,! wri/ is m r\nd$ :5 play+ ne> ! heel ?an at ! tip1 & also :5 play+ on ! l[] /r+s4 ,)\t ! aid ( an ,edison ,c9ematograph1 x w\ld be impossible to demon/rate pictorially ! action ( ! wri/1 =e-arm1 & upp] arm dur+ ! transit ( ! b[ f heel to tip1 & on all ! f\r /r+s1 b if ! prec$+ in/ructions are c>ri$ out ! b[ w at lea/ be held prop]ly4 ,al?\gh my rem>ks may seem r drawn out on ?is subject1 f my own p]sonal exp]i5ce ,i may say t c\ld ,i h _h ?is k imp>t$ to me a c\ple ( ye>s e>li] ?an 0 ! case1 mu* unle>n+ & rele>n+ at m ?an d\ble ! exp5se w\ld h be5 sav$4 ,to ! /ud5t :o is 9 possession ( ! ,seb4 ,lee in/ruction book1 ,i w\ld rem>k t ! position ( ! ?umb z %[n 9 ! plate sup]scrib$ ,position de l'ar*et 7,fig4 #b7 is decid$ly mislead+4 ,x is impossible to h ! ?ick fle%y "p ( ! ?umb ne> ! fir/ jo9t1 grasp+ ! nut z !re %[n1 )\t hav+ ! f+]s /iffly ext5d$1 & ! knuckles protrud+2 a position :i* ,i wi% ! /ud5t to gu>d aga9/4 ,,*apt] ,,iii4 ,,g5]al ,,k--,,ecc5tricity ,,n ,,necess>ily ,a ,,m>k ,,( ,,g5ius--,,musical ,,notation--,,common ,,errors ,,) ,,respect ,,to ,,! ,,actual ,,position ,,( ,,! ,,v>i\s ,,clefs--,,t5or ,,clef ,,indisp5sable ,,to ,,! ',,celli/4 ,,g5]al ,,k1 ,,etc4 ,! g5]al education ( ! /ud5t mu/ on no acc\nt be neglect$1 9 prematurely or unduly develop+ 8 tal5t = 'cello play+4 ,! life ( a musician is di/9ctly social1 & x %\ld be ! aim ( all aspirants to ! title ( arti/1 to fit !mselves = ! society into :i* x is likely _! pr(essional duties w take !m4 ,x is well kn[n t "s p believe t musical tal5t c only be 9 a high /ate ( cultivation1 at ! exp5se ( e o!r bran* ( le>n+2 ! t]m virtuoso 9 _! e/imation be+ synonym\s ) ignorance or ev5 vice4 ,o!rs ev5 g s f> z to imag9e t all great musicians are 9 a m or less /ate ( imbecility1 & no matt] h[ mu* !y may be enc\rag$ :5 on ! conc]t plat=m1 if invit$ to a private social function w\ld only be tol]at$ = _! musical capabilities4 ,9 a great measure ?is has be5 caus$ by "s few arti/s :o h ?\ght to add to _! popul>ity by assum+ 9 _! demean\r1 ecc5tricities ( ! ,pagan9i type4 ,9 ^! days ( mu* education1 x is almo/ ess5tial = ! violoncelli/ :o hopes = only ord9>y success1 especially z a tea*]1 to be well gr\nd$ 9 sev]al second>y subjects1 z well z 9 'cello play+4 ,besides an ord9>y ,engli% education1 ! foll[+ are ! mo/ important1 ,!ory ( ,music1 ,musical ,=m1 a slight k at lea/ ( ,h>mony & ,hi/ory ( ,music1 & = tea*+ purposes1 if n = 8 own edification1 a smatt]+ ( at lea/ two mod]n languages1 say ,fr5* & ,g]man2 ev5 if ! in/rum5tali/ only kn[s ! correct pronunciation ( musical t]ms 9 ^! & simil> languages1 mu* blund]+ w be sav$4 ,to all ?is %\ld be add$ a complete k ( ! con/ruction ( ! violoncello1 & also its mo/ well kn[n mak]s1 toge!r ) ! p]iod 9 :i* !y work$4 ,! read] w p]haps be dismay$ at s l>ge a li/ ( subjects1 b z x is n necess>y to tea* e subject ( :i* "o kn[s a little1 suffici5t = "o's own use may soon be le>n$1 if a prop]ly regulat$ c\rse ( read+ be adopt$4 ,to accompli% ?is1 x is mu* bett] to ma/] an elem5t>y "w on ea* subject1 ?an to skip ?r\gh a m advanc$ treatise 9 an imp]fect fa%ion4 ,messrs4 ,novello1 ,ew] & ,co4 publi% "s v useful little works on "s ( ! above subjects4 ,!re is also a little book on ,!ory by ,robt4 ,sutton 7,rob]t ,cocks & ,co47 :i* w be f\nd to be v useful = beg9n]s4 ,! above & simil> works %\ld be ! daily companions ( ! "y /ud5t = ! fir/ few ye>s ( 8 pupilage4 ,,musical ,,notation4 ,) ! help ( ! !oretical works m5tion$ previ\sly1 ! /ud5t w soon le>n ! v>i\s clefs1 key-signatures1 rhy?ms1 & scale =ms1 etc4 ,my rem>ks w be conf9$ to v>i\s peculi>ities 9 ! clefs us$ 9 'cello music1 & ,i %all also try to expla9 away "s ( ! difficulties ov] :i* le>n]s g5]ally /umble4 ,! violoncelli/ ought to be happy 9 ! k t 8 music is writt5 = him 9 at lea/ ?ree clefs2 b on ! contr>y ?is v abundance1 to _m1 is a great annoyance4 ,! fundam5tal clef 9 'cello music is ! bass clef ,illu/ration its range z f> z ! 'cello is conc]n$1 if f ,c1 two leg] l9es bel[1 :i* is ! ,c op5 /r+ ( ! 'cello1 to ,c1 leg] l9e above4 ,h[ev]1 = cle>ness & simplicity 9 read+1 ! range ( ! bass clef is ext5d$ by means ( leg] l9es z f> z ,a1 an octave high] ?an ! top l9e ( ! clef4 ,! bass clef seems to be ! mo/ easily le>n$1 p]haps because x is g5]ally ! fir/ to be tackl$1 diff]+ greatly 9 ?is respect f ! t5or clef1 ! latt] clef sometimes hav+ a damp+ influ5ce on ! "y 'celli/'s en?usiasm = a consid]able p]iod4 ,! t5or clef ,illu/ration is g5]ally us$ = passages on ! violoncello1 ! range ( :i* does n ext5d bel[ ! op5 ,d /r+1 except = an occasional note or two1 & upw>ds z f> z ,c1 or ,d1 above ! ,a half-/r+4 ,?is is a v useful clef1 tak+1 z x does1 ! middle range ( ! in/rum5t4 ,sometimes :ole compositions1 especially if ( a cantabile nature1 are writt5 entirely 9 ! t5or1 & ,i am pleas$ to say t x is n[ becom+ m kn[n1 & is m us$ by compos]s ?an =m]ly4 ,9 pass+ x is p]haps int]e/+ to obs]ve t ! notes 9 ! t5or clef1 are exactly a fif? high] ?an if writt5 9 ! correspond+ positions 9 ! bass clef4 ,"s play]s use ?is z a k9d ( help1 :5 play+ 9 ! t5or clef1 read+ ! notes z if !y 7 9 ! bass1 b play+ !m a /r+ high]2 ?us1 a passage comm5c+ on ! fir/ l9e1 t5or clef1 w\ld be read ,g b play$ op5 ,d /r+4 ,^! %ort-cut helps z a rule are n mu* to be dep5d$ ^u1 & g5]ally are ! result ( ! inv5tive faculties :i* seem to be a special gift to ! lazy4 ,ea* clef %\ld be made to h a sep>ate exi/5ce 9 ! m9d ( ! play]1 or hesitation & confusion are sure to result4 ,! treble clef ,illu/ration is also mu* us$ 9 its prop] pit* 9 mod]n 'cello music2 ! old ma/]s in/ead ( writ+ 9 ! t5or clef1 wrote ! high passages 9 ! treble1 ! notes to be play$ an octave l[] ?an repres5t$4 ,9 play+ f e>ly editions1 ! violoncelli/ mu/ be on ! al]t = ?is1 z "s ( ! passages writt5 ?us w\ld n s\nd well ev5 if !y c\ld be play$ 9 _! prop] pit*4 ,! /ud5t %\ld ?or\ghly und]/& ! relation ( ea* clef to ! great /ave2 until he is decid$ on ?is simple matt]1 he w be mu* tr\bl$ ) ! relative pit* ( ! t5or clef1 treble1 etc4 ,! great /ave is compos$ ( two sets ( five l9es ea*1 ) an int]m$iate l9e4 ,?is int]m$iate l9e belongs alike to ! treble & ! bass clefs1 t is to say1 x =ms ! leg] l9e bel[ ! treble1 & also ! leg] l9e above ! bass4 ,illu/ration ,"y /ud5ts g5]ally ?9k t above ! bass clef comes ! t5or1 high] up /ill ! alto1 & above all2 ! treble clef1 :]eas all f\r clefs are "p ( ! great /ave4 ,illu/ration ,z be=e /at$ x is usual to c>ry ! bass clef z f> up z ,a above ?ree leg] l9es1 ?is is really ! treble ,a1 & n an octave l[]4 ,! foll[+ passage w %[ ! necessity = ?is1 & also ! ne$ ( an int]m$iate clef1 betwe5 ! bass & treble4 ,illu/ration ,any piani/ ( ord9>y ability w\ld be able to play ! above passage at sight1 )\t ! slighte/ difficulty1 & accord+ to !ory x is correctly writt54 ,n[1 if writt5 = ! violoncelli/ 9 "o /ave1 accord+ to ! same rules1 x w\ld be extremely difficult to read at sight1 ! abrupt *anges ( clef be+ v confus+4 ,illu/ration ,x w\ld be possible to write ?is passage entirely 9 ! t5or clef1 us+ only ?ree leg] l9es above4 ,9 c]ta9 passages ! introduction ( ! v>i\s clefs 9 rapid succession1 mat]ially assi/s ! play] to det]m9e ! pit* ( ! int]vals1 z ,illu/ration ,x w h>dly be int]e/+ to ! violoncelli/ to pursue ! subject fur!r1 its cont9uation apply+ m p>ticul>ly to compos]s & music copyi/s1 ?an to practical musicians4 ,,*apt] ,,iv4 ,,e>ly ,,attempts ,,at ',,cello ,,play+--,,firmness ,,9 ,,f+]+--,,! ,,left ,,h&--,,correct ,,me?od ,,( ,,plac+ ,,! ,,left-,,h& ,,f+]s4 ,,e>ly ,,ex]cises4 ,! fir/ attempts at 'cello play+ mu/ be made ) long1 smoo? b[-/rokes1 c>e be+ tak5 to h a nice ev5 tone f heel to po9t2 great vigilance is "h requir$ on ! "p ( ! ma/]1 9 obs]v+ t ! motion ( ! arm & wri/ is correct4 ,! pupil mu/ n ?9k t practis+ ^! long1 sl[ b[+s is a wa/e ( "t1 x is ! only way to obta9 a good r\nd tone1 & aft]w>ds1 :5 :ole b[s are us$ = a quick] tempo1 a comm& ( ! b[4 ,9 practis+ /udies 9 deta*$ crot*ets aft] ! /yle ( ,ex4 #a1 ,dotzau]1 op4 #abj1 or ,ex4 #a1 ,s*ro$]1 op4 #fg1 great firmness is requir$ to /op ! b[ sudd5ly at ! po9t2 ev5 pressure mu/ be br\ght to be> on ! b[1 accompani$ by great rigidity ( ! ?umb4 ,if ! ex]cises previ\sly m5tion$1 & simil> /udies are practis$ 9 ?is firm1 deta*$1 mann]1 x w prev5t t grop+ = ! note1 a bad habit :i* ! "y play] spe$ily contracts if n wat*$4 ,! /ud5t be+ compell$ to make a %ort pause betwe5 ea* note1 w all[ "t = ! h& to move into position1 & ! f+]s to be firmly plac$1 be=e ! b[ is aga9 set 9 motion4 ,,! ,,left ,,h&4 ,to a great ext5t ! "w ( ! left h& is me*anical1 & l ev]y?+ :i* is me*anical 9 true art1 mu/ only occupy a second>y place4 ,?is is p>ticul>ly true ab\t ! elem5ts ( f+]+1 i4e41 plac+ ! f+]s on ! /r+s 9 ! prop] mann]1 f+]+ ! int]vals 9 tune1 etc41 b does n apply to ! close %ake1 glid+ & v>i\s vocal effects obta9$ by *ang+ ! f+]s on "o note1 or play+ passages up ! /r+s 9 v>i\s positions1 :i* might be execut$ 9 a m ord9>y way4 ,all ?is is high art1 & helps to reveal ! true arti/ by 8 mann] ( introduc+ ! beautiful effects caus$ by ! means previ\sly m5tion$4 ,h[ev]1 to consid] f+]+ pure & simple1 a 'cello play] ( ! fir/ rank does n con/antly ?9k ab\t 8 f+]s1 8 m9d is occupi$ ) ! phras+ & ! correct int]pretation ( ! composition4 ,a good k ( ! f+]bo>d is be/ le>n$ at ! in/rum5t1 no am\nt ( diagrams or l5g?y description ( *ords 9 ! v>i\s positions1 etc41 be+ ( mu* use 9 real "w4 ,! violoncelli/ has q suffici5t to ?9k ab\t )\t c>ry+ diagrams ( ! positions 9 8 head1 ev5 ! old me?od ( pa/+ su* diagrams on ! f+]bo>d ( ! in/rum5t mu/ be d5\nc$1 z ?is only causes ! /ud5t to wat* 8 f+]s1 a mo/ objectionable habit4 ,b aga91 a good play] w\ld be able to in/antly place ! position ( any playable *ord on ! violoncello1 or w\ld be able to tell ! s\nd effects ( any two or m notes play$ 9 any position4 ,?is k mu/ come ) practice1 or x w take no small am\nt ( tr\ble to make ! !ory fit ! in/rum5t1 especially 9 quick passages at sight4 ,! only way to obta9 ?is ma/]y ( ! f+]bo>d1 is by always adh]+ to "o way ( f+]+1 :5 practis+ scales & ex]cises4 ,if a passage ( extraord9>y difficulty pres5ts itself1 /op & analyse x1 !n decide ^u "s way ( f+]+4 ,:e!r ! be/ way w be adopt$ is ano!r matt]1 & a matt] 9 :i* our fir/ class arti/s disagree1 b ! *ief ?+ is to adh]e to ! f+]+ adopt$4 ,! f+]s mu/ be firmly plac$ on ! /r+s2 to all[ ?is1 & s t ! tips ( ! f+]s are us$1 ! jo9ts mu/ be b5t outw>ds4 ,?is w all[ ! f+]s to fall & rise l little hamm]s2 & also if prop]ly accompli%$1 w cause ! /r+s to pass "u ! c5tre ( ! tip ( ea* f+]1 9 an almo/ p>allel l9e ) ! tip edge ( ea* f+] nail4 ,a v important rule1 is to h z _m f+]s plac$ on ! /r+s z possible1 ?us :5 play+ ! f\r? f+]1 d n h ! o!r ?ree po9t+ upw>ds 9 z _m diff]5t directions1 !y %\ld be plac$ 9 semitones on ! /r+1 ready = use if a desc5d+ passage happ5s to foll[4 ,9 "s cases ( vibrato1 & always :5 play+ h>monics1 ! f+]s beh9d ! "o us$ mu/ be kept (f ! /r+s2 ev5 !n x is advisable to h !m only slightly rais$1 & b5t ready = use4 ,9 desc5d+ passages z previ\sly h9t$1 ! f+]s mu/ be plac$ simultane\sly on ! /r+s1 ! necess>y f+]s be+ rais$ z ! passage proce$s2 ! /ud5t w f9d x r difficult at fir/ to place ! f+]s 9 tune beh9d ! "o actually play$1 b con/ant practice w accompli% ?is4 ,,*apt] ,v4 ,,g5]al ,,rem>ks ,,on ,,b[+--,a ,,useful ,,me?od ,,( ,,comb9+ ,,scale ,,practice ,,) ,,! ,,/udy ,,( ,,v>i\s ,,b[+s--,,smoo? ,,b[+s--,,cresc5do-- ,,dim9u5do--,,! ,,slur4 ,,b[+4 ,! /ud5t %\ld always /rive to produce a beautiful pleas+ tone f 8 in/rum5t4 ,rapidity ( execution c be acquir$ ) d[nright h>d "w1 b great skill1 prompt$ & controll$ by a f9e s5se ( tone quality is necess>y to obta9 a full tone1 )\t x p>tak+ ( a h>d1 =c$ quality1 or accompani$ by scrap+ s pron\nc$ z to be mo/ unpleasant except p]haps to p at a great di/ance f ! play]4 ,to acquire ?is skill1 & also 9 "s measure to educate ! e> to ! v>i\s tone-col\r effects :i* are possible on ! violoncello1 mu* ?\ghtful practice is necess>y4 ,! /ud5t mu/ n only "k ! correct movem5ts :i* ! h& & arm are to make 9 p]=m+ any p>ticul> /yle ( b[+1 b ) mu* practice1 he mu/ s develop ! muscles ( 8 b[-arm1 t !y respond in/antly to effect ! slighte/ *ange 9 ! am\nt ( pressure requir$ = ! diff]5t degrees ( s\nd-volume1 or = ! v>i\s p>ts ( ! b[ us$4 ,ev5tually x w be f\nd t x is possible to produce a complete *ange 9 tone-col\r1 :i* w prove a great relief to a cont9u$ tone ( "o "*4 ,?us by us+ a :ole l5g? b[1 )\t any pressure = a note ( a c]ta9 description1 ! quality ( tone produc$ w be f> diff]5t to t obta9$ by us+ half ! l5g? ( b[1 ) pressure appli$ to make up ! s\nd volume4 ,?is & o!r *anges 9 tone-col\r w gradually unfold !mselves to ! /ud5t1 if aft] ?or\ghly ma/]+ ! correct way ( hold+ ! b[1 he practises ! foll[+ b[+s accord+ to ! directions giv54 ,,v>i\s ,,b[+s ,,appli$ ,,to ,,scale ,,practice4 ,x is a mi/ake = a "y play] to imag9e t aft] he has once be5 ?r\gh ! scales ) 8 tea*]1 he ne$ nev] bo!r himself ab\t !m aga94 ,:5 ! major & m9or scales 9 ?ree octaves c be play$ f memory1 x w be f\nd to be ( great assi/ance 9 keep+ ! intonation correct 9 all ! keys1 to adopt a sy/em ( daily scale practice4 ,! numb] ( scales tak5 ea* day mu/ dep5d ^u ! am\nt ( "t :i* ea* /ud5t has at comm&2 x is advisable1 h[ev]1 to be cont5t ) "o k9d ( b[+ ea* week1 & ev5 long] may be devot$ to b[+s :i* are difficult to ma/]1 or 9 :i* ! /ud5t happ5s to be backw>d4 ,! advantage ( /udy+ ! v>i\s b[+s aft] ?is me?od1 is t ! att5tion ( ! /ud5t1 n be+ occupi$ ) read+ ! music1 c be fully direct$ to ! managem5t ( ! b[4 ,,smoo? ,,b[+s4 ,illu/ration3 7,,ex4 #a7 ,! scales 9 semibreves1 mu/ be play$ ) :ole b[+s4 ,! /ud5t %\ld endeav\r to produce a cle>1 r\nd tone1 :i* mu/ be ( ev5 volume ?r\gh\t ! :ole b[-/roke4 ,to accompli% ?is1 a correct motion ( ! arm & wri/ is necess>y1 ! fir/ f+] mu/ gradually increase ! pressure on ! b[ z ! head is rea*$1 be+ aga9 relax$ z ! b[ is pu%$ to ! heel2 to apply ! necess>y pressure )\t caus+ any inequality 9 ! tone1 is ! secret ( f9e legato play+4 ,to *ange ! /roke ( ! b[ requires ! assi/ance ( ! wri/ & f+]s1 ?us1 9 ! d[n /roke :5 ! b[ is )9 a c\ple ( in*es f ! head1 ! movem5t ( ! arm ceases1 ! h& mov$ at ! wri/ cont9ues ! /roke1 & also rev]ses ! b[ = ! up-/roke4 ,9 ! up-b[ ! r\nd$ position ( ! wri/ :5 ! heel is approa*$1 w n all[ ( an exactly simil> movem5t2 to accompli% a neat *ange ( b[-/roke at ! heel1 x is necess>y to let ! f+]s give slightly1 :i* all[s ! b[ to be c>ri$ =w>d ab\t an in*1 & ! /roke rev]s$ aft] ! arm movem5t ceases4 ,^! slight wri/ actions are requir$ to prev5t a peculi> k9d ( scrape be+ he>d1 ?is s\nd1 al?\gh p]missible1 & ev5 necess>y 9 c]ta9 k9ds ( b[+1 is mo/ objectionable 9 smoo? legato play+4 ,to prev5t any h>%ness 9 ! tone1 ! pressure on ! b[ mu/ be nicely regulat$ at ! *ange ( /roke4 ,illu/ration3 7,,ex4 #b7 ,to be able to produce a f9e cresc5do is a gr& accompli%m5t4 ,! b[ mu/ be lightly plac$ on ! /r+s at "s di/ance f ! bridge2 z ! /roke proce$s1 m pressure ) ! fir/ f+] is gradually appli$1 ! b[ is caus$ to approa* ! bridge & at ! same "t is drawn m rapidly4 ,9 p]=m+ a cresc5do passage ) ! d[n b[1 ! /ronge/ possible pressure mu/ be appli$ z ! b[ is drawn to ! po9t4 ,! gradual swell+ f piano to =te1 mu/ be accompli%$ )\t any break 9 ! tone be+ p]ceptible2 a great am\nt ( practice is necess>y to give ! ability to produce a full r\nd tone at ! =te1 )\t a disagreeable h>dness 9 tone-quality4 ,illu/ration3 7,,ex4 #c7 ,9 a decresc5do ! rev]se action takes place4 ,! b[ is plac$ v firmly on ! /r+s ne> ! bridge1 great pressure be+ appli$4 ,z ! /roke proce$s ! pressure is gradually )drawn1 ! b[ moves m sl[ly1 & approa*es ! f+]bo>d4 ,illu/ration3 7,,ex4 #d7 ,! effect ( ,ex4 #d is a comb9ation 9 "o b[ ( ! cresc5do & decresc5do effects giv5 9 b[+s #b & #c4 ,! b[ mu/ be us$ v sp>+ly at ! cresc5do1 s t suffici5t may be left to su/a9 a bold =te1 = ! middle ( ! semibreve1 & also to all[ ! tone to be gradually dim9i%$4 ,! /ud5t _c devote too mu* "t to ! /udy ( ?is difficult b[+2 if prop]ly ma/]$1 great comm& ( ! b[1 9 a sl[ b[-/roke1 w h be5 obta9$4 ,illu/ration3 7,,ex4 #e7 ,scales play$ ) two m9ims slurr$ 7,ex4 #e7 %\ld h :ole smoo? b[-/rokes4 ,9 approa*+ an op5 /r+1 c>e %\ld be tak5 to prev5t any break 9 ! b[-/roke1 or any r\ghness be+ p]ceptible4 ,! op5 /r+ %\ld fir/ be caus$ to vibrate ) ! friction ( ! b[1 ! pressure !n be+ appli$4 ,equal divisions ( ! b[ are necess>y = ea* m9im1 ! b[ be+ lightly plac$ at ! heel1 ) slightly increas+ pressure1 z ! po9t is ne>$2 ?is is requir$ to keep ! tone-volume equal ) t produc$ at ! heel4 ,illu/ration3 7,,ex4 #f7 ,f\r crot*ets slurr$1 are to be play$ ) ! same k9d ( b[+ z ,ex4 #e1 b "h !re are f\r notes to "o b[-/roke4 ,ea* crot*et %\ld h its full "t value all[$1 & ! /roke %\ld be equally divid$1 s t ea* note gets ab\t a f\r? ( ! b[4 ,equality ( tone1 & smoo?ness are ! *ief *>act]i/ics ( a good p]=mance ( ?is & all simil> slurr$ b[+s4 ,!re %\ld n be ! slighte/ break betwe5 ea* crot*et1 "o note only be+ left (f z ! next is s\nd$4 ,illu/ration3 7,,ex4 #g7 ,smoo? deta*$ crot*ets may be play$ ) ! upp] half ( ! b[4 ,9 ?is /yle ( deta*$ b[+1 ea* note mu/ be approa*$ & left )\t any r\ghness1 a cle> division ( ! notes be+ sugge/$ r ?an any decid$ break made4 ,:5 mov+ f "o position to ano!r1 no glid+ is all[$1 ea* note sep>ate1 b smoo?4 ,illu/ration3 7,,ex4 #h7 ,9 ,ex4 #h ! :ole octave is play$ ) "o b[ /roke4 ,9 scale practice1 x w be advisable = ! /ud5t at fir/ to repeat ! tonic1 s t a prop] s5se ( ! correct phras+ is felt1 ?us-- ,illu/ration3 7,,ex4 #h;a7 ,illu/ration3 7,,ex4 #i7 ,v>i\s divisions ( slurr$ quav]s may be practis$1 :]e ea* gr\p conta9s ! same quantity ( notes1 ! same l5g? ( b[-/roke mu/ be giv5 ea* slur4 ,ex4 #i %\ld be play$ ) ! upp] ?ird ( ! b[4 ,! /ud5t %\ld n acquire ! habit ( mak+ ! second quav] %ort] ?an ! fir/2 ea* note mu/ h equal duration4 ,?is b[+ may also be practis$ ) ! middle ?ird ( ! b[4 ,illu/ration3 7,,ex4 #aj7 ,:]e "o gr\p conta9s m notes ?an ano!r1 x is n always advisable to use ! same am\nt ( b[ = ! small] slur4 ,to pres]ve ! same tone-quality ?r\gh\t 9 ,ex4 #aj1 x %\ld be b[$ z foll[s3--,place ! b[ on ! /r+s ne> ! heel2 = ! fir/ ?ree quav]s1 draw x j beyond ! middle1 !n give ! two ti$ quav]s an up-/roke1 us+ ab\t a ?ird ( b[2 = ! rema9+ ?ree quav]s1 draw ! b[ q to ! po9t4 ,! octave high] comm5ces ) an up-b[1 ! action be+ exactly rev]s$ until ! heel is rea*$4 ,illu/ration3 7,,ex4 #aa7 ,9 play+ two octaves slurr$1 besides obs]v+ all t has be5 writt5 conc]n+ smoo? slurr$ b[+s1 ! /ud5t mu/ be c>eful to adopt a prop] sy/em ( phras+4 ,x is p]haps advisable 9 scale practice to sugge/ 9 ! phras+1 ! comm5cem5t ( ano!r octave4 ,?is may be accompli%$ by dwell+ slightly on ! lead+-note 79 ?is case ,b71 or by acc5t+ ! tonic ( ! upp] octave4 ,:atev] me?od is adopt$1 mu/ n be su* z to s]i\sly di/urb ! ev5 run ( ! semiquav]s4 ,illu/ration3 7,,ex4 #ab7 ,deta*$ quav]s %\ld be practis$ ) ! upp] ?ird ( ! b[1 9 ! same mann] z ! crot*ets 9 ,ex4 #g4 ,! wri/ is assi/$ by ! =e-arm4 ,illu/ration3 7,,ex4 #ac7 ,smoo? deta*$ semiquav]s %\ld be play$ ) ! po9t ( ! b[1 us+ ! wri/ only4 ,!y may also be play$ ) ! middle eigh? ( ! b[1 b if a v smoo? p]=mance is desir$1 x is bett] to keep ne> ! po9t4 ,?is prev5ts ! b[ f gett+ a spr++ movem5t1 & causes ! notes to be rubb$ out ( ! in/rum5t4 ,mu* practice is necess>y1 to get ! f+]s ( ! left h& to "w 9 sympa?y ) ! movem5ts ( ! b[4 ,! f+]s mu/ be press$ firmly on ! /r+s1 at fir/ ! /ud5t mu/ ex]t himself to put =? ! necess>y pressure1 aft]w>ds1 :5 ! muscles ( ! f+]s are fully develop$1 ?is w be done unconsci\sly4 ,:5 play+ 9 ! middle ( ! b[1 c>e mu/ be tak5 to prev5t any scrap+ s\nd be+ produc$ by too mu* pressure on ! b[1 or by n regulat+ ! pressure :5 rev]s+ ! b[-/roke4 ,,*apt] ,,vi4 ,,b[+ ,,cont9u$--,,m>tel--,,deta*$ ,,/roke--,,mix$ ,,b[+s--,,! ,,v>i\s ,,divisions ,,( ,,! ,,b[4 ,,/ruck ,,deta*$ ,,b[+s4 ,illu/ration3 7,,ex4 #ad7 ,?is /yle ( b[+ 7,ex4 #ad7 is kn[n z m>tel_/sc4 ,x consi/s ( a sm>t heavy /roke1 ) ! upp] ?ird ( ! b[4 ,! b[ is /opp$ sudd5ly at ! end ( ea* /roke1 )\t all[+ ! pressure ( ! fir/ f+] to relax2 ! b[ /roke be+ sudd5ly *eck$1 causes ! abrupt /oppage ( ! sm>tly vibrat+ /r+1 & all[s a %ort pause to be made betwe5 ea* note4 ,! effect might be repres5t$ ?us3 ,illu/ration3 7,,ex4 #ad;a7 ,illu/ration3 7,,ex4 #ae7 ,%ort deta*$ crot*ets may be play$ ) ! upp] half ( ! b[4 ,! /roke mu/ be made sm>tly1 )\t any real gap betwe5 ! notes4 ,! b[ %\ld seem to pass quickly & smoo?ly ov] ! /r+s1 ! tone be+ produc$ by friction1 r ?an any pressure :i* ! fir/ f+] may ex]t4 ,! scales 9 crot*ets may be play$ ) m>tel b[+1 us+ :ole b[-/rokes z previ\sly expla9$ 9 ! rem>ks on e>ly ex]cises4 ,illu/ration3 7,,ex4 #af7 ,%ort deta*$ quav]s %\ld be play$ ) ! upp] ?ird ( ! b[4 ,!re are num]\s examples ( ?is k9d ( b[+ 9 ! /udies = violoncello1 by ,kumm]1 ,dotzau]1 etc4 ,illu/ration3 7,,ex4 #ag7 ,?is is an exce$+ly difficult k9d ( b[+1 b if well execut$ has a v brilliant effect4 ,to produce ! s=z&o note ) ! up /roke1 ! b[ %\ld be lift$ & ?r[n on ! /r+ ) =ce1 c>e be+ tak5 to d ?is close to ! po9t1 or in/ead ( a s=z&o note1 a s]ies ( b\nces w result4 ,! balance is pres]v$ ) ! f\r? f+]1 :i* also assi/s 9 rais+ ! b[ f ! /r+ = ! next s=z&o note2 ! quav] ) ! d[n /roke %\ld be play$ sm>tly4 ,x w\ld be unwise to use a gold m\nt$ ,t\rte1 9 ! fir/ attempts at ?is b[+1 z x is possible to s]i\sly damage ! b[ if n execut$ ) skill4 ,,mix$ ,,b[+s4 ,illu/ration3 7,,ex4 #ah7 ,?is b[+ is p]=m$ by comm5c+ at ! middle ( ! b[2 ) a sm>t1 light /roke1 draw ! b[ to ! po9t1 ! ?ree quav]s play$ v smoo?ly take ! b[ back to ! middle4 ,illu/ration3 7,,ex4 #ai7 ,! b[+ 9 ,ex4 #ai has ! phras+ j rev]s$1 ?is b[+ gives a v beautiful effect if nicely execut$4 ,= ! ?ree ti$ quav]s comm5ce at ! middle ( ! b[1 draw x smoo?ly to ! po9t1 !n relax+ ! t5sion ( ! muscles 9 ! "r h&1 c>ry ! b[ sm>tly ov] ! /r+1 back to ! middle4 ,?is light up-b[ %\ld be done )\t any pressure1 & ) ! b[ well "u control4 ,illu/ration3 7,,ex4 #bj7 ,9 ,ex4 #bj ! fir/ quav] receives a sm>t d[n /roke at ! po9t ( ! b[4 ,! slurr$ quav]s %\ld all be ( equal l5g?1 & on no acc\nt mu/ ! second slurr$ quav] receive any emphasis4 ,if an accompany+ "p pres]ves ! orig9al acc5t1 ! effect is v pleas+4 ,illu/ration3 7,,ex4 #ba7 ,a l>ge v>iety ( mix$ b[+s may be inv5t$ by ! /ud5t1 aft] ! /yle ( ,ex4 #ba4 ,! *ief object 9 practis+ su*1 %\ld be to obta9 a facility 9 us+ ! v>i\s p>ts ( ! b[4 ,:]e gr\ps conta9+ ! same quantity ( slurr$ notes are sep>at$ by two1 f\r1 six1 or any ev5 numb] ( deta*$ notes1 ! slurr$ gr\ps are play$ alt]nately ) a d[n & an up b[-/roke1 ! deta*$ notes be+ play$ fir/ at ! po9t1 !n at ! middle or ne> ! heel 7z 9 ,ex4 #ba71 accord+ to ! l5g? ( b[-/roke requir$ = ! slur4 ,if ! slurs are sep>at$ by "o1 ?ree1 five or any odd numb] ( deta*$ notes1 ! b[+ w be s arrang$ t ! slur has always to be tak5 ) ! same k9d ( b[ /roke3 to all[ ?is ! necess>y quantity ( b[ mu/ be ga9$ on "o ( ! deta*$ notes1 ?is may be accompli%$ z 9 ,ex4 #bb4 ,illu/ration3 7,,ex4 #bb7 ,! slurs are always tak5 ) a d[n-/roke1 us+ ! upp] ?ird ( ! b[4 ,! b[ %\ld be c>ri$ back1 on ! fir/ deta*$ quav]1 :i* be+ ! fir/ note ( a triplet1 may be giv5 a slight emphasis2 ! two rema9+ quav]s are play$ ) a %ort wri/ movem5t4 ,illu/ration3 ,,fig4 #d4 ,be=e leav+ ! subject ( mix$ b[+s1 ,i w\ld impress ^u ! /ud5t ! necessity = ! application ( a good division ( ! b['s l5g?1 s t :atev] v>iety ( b[+ pres5ts itself1 may be treat$ ) ! "p ( ! b[1 & 9 ! mann] mo/ capable ( produc+ ! f9e/ effects4 ,! /ud5t %\ld make a m5tal division ( ! b[ into ?irds1 f\r?s1 etc41 see ,fig4 #d1 ! v>i\s divisions be+ designat$ z !re %[n1 su* z po9t f\r?1 heel f\r?1 upp] ?ird1 etc4 ,9 ! small] divisions !re giv51 ! wri/ may be assi/$ ) a slight movem5t ( ! =e-arm1 = purely wri/ movem5ts1 a b[-/roke ( ab\t a c\ple ( in*es may be tak5 ) any "p ( ! b[1 accord+ to ! requirem5ts ( ! p>ticul> passage4 ,,*apt] ,,vii4 ,,on ,,/accato ,,b[+--,,spiccato--,,slurr$ ,,spr++-,,b[--,,v>ieties ,,( ,,phras+ ,,occasion$ ,,by ,,! ,,portion ,,( ,,b[ ,,us$--,,sautill--,,dott$ ,,notes4 ,,/accato4 ,illu/ration3 7,,ex4 #bc7 ,! /accato b[+1 if neatly execut$1 has a v brilliant effect2 to obta9 any?+ l ma/]y ( x ! /ud5t mu/ fir/ be c>eful to see t ! b[ is held correctly1 & f ! comm5cem5t1 ! b[+ mu/ be practis$ only 9 ! recognis$ fa%ion1 & accord+ to ! h9ts "h giv54 ,if any movem5ts o!r ?an ^? describ$ are all[$1 ! /ud5t w f9d t he c nev] execute ?is difficult b[+ beyond a c]ta9 spe$1 or if he does flatt] himself 9 to ! belief t he has arriv$ at a brilliant execution ( x1 on comp>ison x w be f\nd t in/ead ( ! recognis$ b[+1 x is "o ( ! v>i\s k9ds ( trick /accato1 (t5 accompli%$ by a slight tremolo ( ! =e-arm or "s su* movem5t4 ,! *ief movem5t 9 ! /accato b[+ is di/9ctly a wri/-"o1 ! fir/ f+] play+ a great "p 9 giv+ crispness & attack to ea* note4 ,! initial quav] 9 ,ex4 #bc1 %\ld receive a sm>t d[n-/roke ) ! upp] ?ird ( ! b[2 z previ\sly expla9$ 9 ! rem>ks on legato b[+1 ! h& c>ries on ! /roke aft] ! =e-arm movem5t ceases1 caus+ ! h&1 :5 ! b[ is at ! po9t1 to be turn$ away f ! play]4 ,?is %\ld be made ! f\ndation ( ! /accato /roke4 ,z ! arm progresses sl[ly & /eadily along = ! up-/roke1 ! h& keeps pace by a s]ies ( %ort j]ks2 ^! are purely wri/ movem5ts1 n be+ assi/$ 9 any fa%ion by ! arm4 ,x is ( ! utmo/ importance to h ! h&1 & wri/1 9 a prop] position at ! beg9n+ ( ! s]ies ( up-/rokes1 if ! h& is already turn$ inw>ds1 h[ w x be possible to execute a wri/ movem5t 9 ! same direction8 ,! fir/ f+] %\ld press firmly on ! b[ z ! h& moves = ! attack ( ea* note1 ?is attack if analys$1 w be f\nd to be a modifi$ k9d ( s=z&o on e semiquav]2 ! notes are sep>at$ by reliev+ ! pressure1 & also by ! %ort pauses betwe5 ! wri/ movem5ts4 ,an explanation conc]n+ ! pressure ( ! fir/ f+] is p]haps necess>y2 ! pressure is n caus$ by ! contraction ( ! muscles ( ! fir/ f+]1 s mu* z by ! weight caus$ by an inw>d turn ( ! h&1 be+ br\ght to be> on ! b[ ?r\gh ! m$ium ( ! fir/ f+]4 ,illu/ration3 7,,ex4 #bd7 ,! fir/ attempts at ! /accato b[+ may be made on "o /r+1 aft] ! fa%ion ( ,ex4 #bd2 ab\t an in* ( b[ may be us$ = ea* quav]1 tak+ c>e to produce ! s=z&o effect1 :i* 9 an attempt at a sl[ tempo %\ld be m app>5t ?an 9 a quick /accato run4 ,! b[ mu/ n be all[$ to leave ! /r+1 ! release ( pressure only all[+ ! b[ to "r itself 9 prep>ation = ! bite on ! next note4 ,aft] ! movem5ts previ\sly expla9$ h be5 ma/]$1 !re is no?+ fur!r requir$ = ! production ( a good effect 9 /accato b[+1 except a complete comm& ( ! upp]-half ( ! b[1 9 ! s5se ( be+ able to produce a good tone1 )\t unduly /ra9+ or fatigu+ ! muscles ( ! h& & =e-arm4 ,! /accato may be play$ ) ! d[n-b[1 ! wri/ & arm movem5ts be+ simply ! rev]se ( ^? 9 ! up-b[4 ,x is bett] n to comm5ce q at ! heel1 z ! tone !re1 unless great c>e & skill be ex]cis$1 is apt to be gritty4 ,x is possible to produce a v pleas+ effect on ! 'cello ) ?is b[+1 ev5 9 fairly quick passages2 ! b[ %\ld n grip ! /r+ too heavily1 nor be all[$ to drag1 b %\ld be c>ri$ lightly4 ,9 sl[ movem5ts1 a class ( phras+ is (t5 introduc$1 :i* al?\gh express$ l ! /accato1 if execut$ z su*1 w\ld entirely spoil ! effect4 ,illu/ration3 7,,ex4 #be7 ,! f\r slurr$ /accato quav]s %\ld be play$ ) f\r d[n-b[ /rokes1 us+ ! :ole l5g? ( ! b[1 ea* quav] receiv+ ab\t a f\r?2 ! division betwe5 ! notes %\ld be v slight1 be+ caus$ almo/ z mu* by a slight acc5t on ea* quav]1 z by ! b[ be+ actually /opp$4 ,,spiccato1 ,,or ,,spr++-,,/roke4 ,illu/ration3 7,,ex4 #bf7 ,! introduction ( ! spr++-/roke 9 ! int]pretation ( a composition1 is left almo/ entirely to ! discretion ( ! p]=m]4 ,x w be obs]v$ 7,ex4 #bf71 t ! same signs are us$ = ?is1 z = %ort deta*$ solid b[+s4 ,al?\gh ?is lack ( cle>ness 9 our sy/em ( musical notation is to be regrett$1 "o _c help b ?9k t ?is v g5]al way ( express+ ! :ole v>iety ( deta*$ /accato b[+1 is really a ga9 to ! arti/4 ,:at is n[ admir$ z orig9ality1 & individuality 9 reproduction1 w\ld be consid]$ an undue lic5se or lack ( skill1 & ?us x is1 t out ( ! v incomplet5ess 9 our musical notation1 or 9 ! failure ( compos]s to express ! details ( phras+1 etc41 ! fre$om ( int]pretation is giv51 :i* all[+ ( su* v>i\s treatm5t1 =ms ! f\ndation ( ! diff]5t s*ools1 or /yles 9 in/rum5tal play+4 ,! spr++ /roke is suitable = any music ( a light1 playful "*1 al?\gh x %\ld n be cont9u$ too long )\t ! introduction ( solid b[+ z a relief4 ,9 practis+ ! scales 9 quav]s 7,ex4 #bf71 ! b[ actually b\nces away f ! /r+ betwe5 ea* note1 at ! mom5t ! b[ is ?r[n on ! /r+1 ! h& %\ld move backw>ds1 or =w>ds1 s t suffici5t tone may be br\ght out ( ! in/rum5t4 ,reg>d+ ! latt]1 x w be evid5t to ! /ud5t1 t ! action ( ! b[ fall+ on ! /r+s _c alone set !m 9 vibration2 no matt] h[ brilliant is ! b[+1 we mu/ h "s species ( /roke or ! result w be m9us tone4 ,to all[ ( ! maximum tone be+ produc$ :i* is possible ) su* a slight b[-/roke1 ! h& may droop m ?an usual1 caus+ ! :ole wid? ( ! hair to come 9 contact ) ! /r+s1 ?is w also prev5t any j>r+ s\nd be+ occasion$ by ! wood ( ! b[4 ,to prev5t a v scrat*y p]=mance1 ! b[ /rokes %\ld be made exactly at ! same "p ( ! /r+s2 tak+ c>e t ! b[ spr+s away at "r angles4 ,! mo/ useful "p ( ! b[ = ! sl[ /yle ( spiccato1 is g5]ally j bel[ ! middle2 al?\gh = deta*$ notes ) long re/s betwe51 or int]mix$ ) left-h& pizzicato1 x may be accompli%$ ) ! po9t4 ,illu/ration3 7,,ex4 #bg7 ,,slurr$ ,,spr++-,,/rokes4 ,slurr$ spiccato is v useful z a relief to ! /accato prop]4 ,x is p]=m$ aft] ! same /yle z deta*$ spr++-/roke1 except t in/ead ( ! b[ be+ rev]s$ at ea* /roke1 a numb] ( notes are play$ ) ! b[ spr++ 9 "o direction4 ,! b[ %\ld be giv5 a prelim9>y b\nce by a sm>t d[nw>d turn ( ! wri/1 !n gradually mov$ =w>d1 :i* w cause sev]al deta*$ /rokes z ! b[ falls aft] ea* reb\nd4 ,= long1 quick passages1 x is necess>y to comm5ce ne> ! po9t1 al?\gh n s ne> t in/ead ( ! b[ spr++1 a s=z&o is produc$2 x is n necess>y to assi/ ! b[ to spr+ away f ! /r+s 9 ^! quick passages1 aft] ! initial b\nce has be5 giv51 ! natural spr+ ( ! b[ ass]t+ itself aga9/ ! weight ( ! h&1 be+ suffici5t to all[ ( tw5ty or m notes be+ play$4 ,al?\gh ! slurr$ spiccato b[+ is express$ 9 ! same mann] z solid /accato1 ! violoncelli/ w occasionally come across c]ta9 passages1 :i* w\ld lose all _! *>m if play$ ) solid b[+4 ,ex4 #bh w illu/rate ?is4 ,! semiquav] triplet %\ld be execut$ ) ?ree sm>t b\nces ) ! up-b[2 !n ! b[ %\ld be controll$1 & lightly drawn = ! two ti$ quav]s4 ,! introduction ( ! two slurr$ quav]s 9 ?is passage1 makes x almo/ compulsory to execute x betwe5 ! middle & ! heel ( ! b[1 x be+ possible to *eck ! b\nc+ bett] !re ?an if play+ ne> ! po9t4 ,illu/ration3 7,,ex4 #bh7 ,h[ev]1 to illu/rate h[ ! 'celli/ mu/ be able to appreciate ! subtle diff]5ces 9 v>i\s mann]s ( phras+1 or h[ an arti/ by a slight lib]ty1 w\ld trans=m an awkw>d b[+ into "o ) m "* & =ce1 we w suppose ! above passage writt5 ?us3-- ,illu/ration3 7,,ex4 #bh;a7 ,! semiquav] triplet 9 ?is case1 7,ex4 #bh;a71 is execut$ ) spr++-b[1 us+ ! upp] ?ird2 ! b[ is !n ?r[n on ! /r+ close to ! po9t = ! s=z&o4 ,9 sub/itut+ or inv5t+ ! mann] ( b[+ any p>ticul> passage1 ! violoncelli/ %\ld always take into consid]ation ! "* ( ! composition be+ p]=m$1 n be+ above consid]+ ! g5]ally ackn[l$g$ mann] ( int]pret+ ! works ( well kn[n compos]s4 ,! introduction ( any exagg]ation 9 acc5t1 etc41 :il/ be+ p]fectly admissable 9 p]=m+ compositions by ,brahms1 ,s*umann1 or ,dvorak1 w\ld mo/ probably be out ( place1 if introduc$ 9 simil> works by ,m5delssohn or ,bee?ov54 ,,sautill4 ,illu/ration3 7,,ex4 #bi7 ,al?\gh ?is b[+ is (t5 call$ ,spiccato1 ,spr++-/roke1 ,danc+-b[1 etc41 etc41 x mu/ n on any consid]ation be confus$ ) ! b[+ previ\sly describ$ z su*1 t is ! spr++-b[ appli$ to passages at only a mod]ate tempo2 ! me?od ( production & ! effect ( ^! two b[+s are entirely diff]5t1 ! sautill1 v>y+ f ! heavi] class ( spr++-/roke1 9 n be+ produc$ by any /udi$ action ( ! "r-h&1 wri/1 or f+]s4 ,! "w ( ! f+]s 9 execut+ ?is b[+1 is m]ely passive1 except p]haps ! fir/ f+]1 :i* assi/s 9 giv+ ! g to ! b[4 ,no pressure is requir$2 ! tone seems to be pull$ out ( ! in/rum5t by ! bite ( ! hair on ! /r+s1 ! spr++ movem5t be+ caus$ solely by ! ela/icity ( ! b[4 ,! scales may be practis$ z ,ex4 #bi1 fir/ 9 smoo? semiquav]s at ! middle ( ! b[1 us+ ab\t an in* ( b[1 & )\t any pressure be+ appli$4 ,! scales %\ld be work$ up to a v high rate ( spe$2 :5 ?is is accompli%$1 ! /ud5t w f9d t unless he prev5ts ! b[ f spr++1 x w comm5ce a k9d ( danc+ movem5t1 al?\gh x h>dly seems z if ! b[ leaves ! /r+s4 ,! /ud5t w easily recognise ! b[+ :5 he has accompli%$ x1 by ! di/9ct pick$ out "* ( ! notes4 ,mo/ amateurs :o fail to acquire ?is b[+1 may blame _! mis=tune ei!r to gripp+ ! b[ too firmly1 ?us n all[+ ! wri/ & f+]s suffici5t play1 or be+ we>y 9 well do+ ) respect to practice4 ,mod]n compositions = violoncello ab\nd ) ?is b[+1 f9e examples may be f\nd 9 ,am ,spr+brunn51 ,david(f2 ,papillon1 ,elf5tanz1 etc41 etc41 by ,popp]1 la/ movem5t ,milit>y ,conc]to1 & o!r solos by ,s]vais2 9 fact ne>ly all mod]n play]-writ]s1 h compos$ works :i* introduce ?is fairy-l b[+4 ,,dott$ ,,notes4 ,illu/ration3 7,,ex4 #cj7 ,! rhy?m giv5 9 ,ex4 #cj1 is frequ5tly met ) 9 almo/ e class ( in/rum5tal music4 ,x may be b[$ 9 f\r di/9ctly diff]5t ways4 ,! way mo/ly adopt$1 especially 9 *amb]1 or or*e/ral music1 :]e occasionally :ole sections ( a "w h accompanim5ts = ! /r+s 9 ?is rhy?m1 is to tie ! two notes 9 "o b[ z m>k$ 9 ,ex4 #cj1 ?is is done1 ev5 if no b[+ m>ks :atev] are giv5 9 ! p>ts4 ,! upp] half ( ! b[ may be us$1 ! b[ be+ almo/ drawn to ! po9t1 !n sudd5ly /opp$ to all[ ! semiquav] to h a di/9ct /roke1 = ! latt]1 us+ ab\t a c\ple ( in*es ( b[ ) a wri/ movem5t only4 ,illu/ration3 7,,ex4 #cj;a b7 ,9 solo pieces1 & occasional passages 9 *amb]-music1 ?is rhy?m may be giv5 "o b[-/roke to ea* note4 ,h[ev]1 ! effect al?\gh pleas+1 is s ass]tive especially if execut$ 9 a v broad1 heavy fa%ion1 t ! li/5] becomes tir$ be=e _m b>s h be5 play$4 ,?is bad effect is n q s evid5t if ! b[+ is execut$ 9 a light1 playful mann]1 ! v nature ( ! rhy?m is ( a gay1 frolicsome "*1 especially 9 a mod]ately quick tempo1 !re=e a dull1 solid p]=mance is entirely out ( place4 ,9 practis+ ! b[+ at ,ex4 #cj;,a1 m ?an a ?ird "p ( ! b[ mu/ n be us$1 & slightly less = a quick] tempo4 ,! semiquav] mu/ h ! same l5g? ( b[-/roke z ! dott$ quav]2 !re=e ! b[ mu/ move m sl[ly1 & receive m pressure = ! d[n-/roke ?an = ! light up-/roke2 = ! latt]1 ! b[ is c>ri$ lightly ov] ! /r+1 ) ! pressure reliev$4 ,! b[+ may also be rev]s$ z 9 ,ex4 #cj;,b1 "h ! long] note is play$ ) an up b[-/roke1 ! semiquav] receiv+ a sm>t1 light1 d[n b[4 ,ano!r me?od ( b[+ may also be occasionally us$1 al?\gh :5 comp>$ ) any ( ! =ego+1 x w p]haps be reg>d$ z a trifle commonplace4 ,! b[ is plac$ on ! /r+s at ! heel2 ! fir/ dott$ quav] receives a d[n /roke ) ! heel f\r?1 ! semiquav] be+ play$ ) an up-b[1 us+ ab\t an eigh? ( b[2 ! next dott$ quav] aga9 receives a d[n-/roke ) a f\r?2 ?us ga9+ an eigh? at ea* dott$ note1 ! b[ gradually travels to ! po9t4 ,! up-b[ may also be us$ 9 l mann]1 comm5c+ at ! po9t & f9i%+ ne> ! heel1 ! movem5ts be+ rev]s$4 ,?is me?od ( b[+ w be f\nd useful = special passages :i* h to be execut$ 9 a quiet mann]1 or :]e ! *ange 9 b[+ ?us occasion$ is necess>y4 ,,*apt] ,,viii4 ,,on ,,! ,,positions--,,! ,,individual ,,requirem5ts ,,( ,,or*e/ral ,,play] ,,& ,,soloi/--,,! ,,necessity ,,( ,,/ret*+ ,,= ,,! ,,int]vals--,,! ,,locality ,,( ,,! ,,neck ,,positions--,,! ,,enh>monic ,,diff]5ce ,,( ,,%>p ,,& ,,flat ,,keys--,,absolute ,,pit*--,,h[ ,,to ,,leap ,,any ,,awkw>d ,,int]val--,,! ,,positions ,,n ,,det]m9$ ,,by ,,ma!matical ,,rules1 ,,b ,,by ,,! ,,e>--,,%ift+--,,economy ,,( ,,motion v]sus ,,effect--,,*oice ,,( ,,positions4 ,,positions1 ,,%ift+1 ,,etc4 ,al?\gh le>n+ ! v>i\s positions us$ 9 violoncello play+ is nei!r s int]e/+ a /udy nor s quickly ma/]$ z are a few ( ! seem+ly m difficult /yles ( b[+1 a ?or\gh practical k ( !m is absolutely necess>y bo? = or*e/ral & solo "w4 ,x is int]e/+ to note1 h[ev]1 t extraord9>y ability 9 any "o direction is g5]ally obta9$ at ! exp5se ( ! o!r bran* ( 'cello play+4 ,a long exp]i5c$ or*e/ral play]1 al?\gh hav+ a complete ma/]y ( ! f+]bo>d1 9 ! matt] ( be+ able to play almo/ any composition at sight1 seldom possesses t p]fection 9 b[+ requisite = a successful soloi/4 ,! *ief matt]s = special att5tion 9 ! or*e/ra are "t & tune1 toge!r ) ! ord9>y light & %ade effects2 & consid]+ ! num]\s compositions :i* ! or*e/ral violoncelli/ mu/ g ?r\gh 9 "o %ort season only1 x is n to be expect$ t any great att5tion c be devot$ to ! p]fection ( b[+2 or at lea/ to su* brilliant b[+s z ! /accato1 & v>i\s spiccato effects1 :i* are only he>d to advantage :5 ea* in/rum5t may be he>d individually4 ,! exceptions to ?is rule1 are or*e/ral play]s :o comb9e ) _! or*e/ral "w1 mu* practice 9 *amb] music or solos4 ,! same law is 9 effect ) any :o excel greatly z soloi/s2 ! solo play] may h a great] comm& ( ! positions 9 a me*anical s5se ?an has ! or*e/ral play]1 b x is seldom he reads s well at sight4 ,! v sy/em ( work+ up to p]fection1 & memoriz+ a c]ta9 numb] ( compositions1 is detrim5tal to good read+2 9 fact x may be safely said t ! m an arti/ plays by e> ! less able w he be to read at sight4 ,i %\ld ?9k su* arti/s z ,piatti1 ,lady ,hall1 ,joa*im1 h[ev]1 are notable exceptions1--n to ! rule1 b to great solo play]s be+ poor sight read]s1 b ^! arti/s h always comb9$ mu* qu>tet play+ ) _! solo "w4 ,! special requirem5ts 9 respect to positions1 ( ea* class ( violoncelli/1 may be /at$ z foll[s2 ! soloi/ to be successful requires a complete ma/]y ( ! practical or me*anical "p ( play+ p]fectly 9 tune1 & a p]fect comm& ( %ift+ f "o position to ano!r4 ,! or*e/ral play] requires ! ability to quickly div9e ! mo/ suitable positions 9 :i* to play any giv5 passage1 :5 se5 express$ 9 musical notation4 ,! successful qu>tet play] mu/ possess to a c]ta9 degree1 ! abilities ( bo? classes4 ,:atev] class ( "w ! /ud5t int5ds to fit himself =1 he mu/ ga9 a k ( ! positions 9 a practical mann]1 i4e41 ) ! in/rum5t 9 h&4 ,!ory by itself is ( no use1 ! play] may "k t a c]ta9 note w be produc$ if a giv5 /r+ be /opp$ 9 a c]ta9 place1 b if he is unable to p]=m ! me*anical "p1 & by exactly gaug+ ! di/ance to be leap$1 /op ! note p]fectly 9 tune1 ! k /&s = no?+4 ,ea* position %\ld h sep>ate att5tion1 & ! notes obta9able ?or\ghly ma/]$ bo? !oretically & practically be=e ano!r position is attempt$4 ,! position mo/ easily le>n$ is ! fir/ position 7fir/ f+] on ,b a :ole tone above ! op5 ,a /r+71 & z ?is is 9 a s5se ! normal position 9 'cello play+1 & = ord9>y "w ! mo/ useful ow+ to its relation to ! f\r op5 /r+s1 ! h& ( ! /ud5t %\ld be all[$ to become ?or\ghly set to ?is position1 & facility obta9$ 9 /ret*+ ! v>i\s int]vals1 be=e attempt+ to %ift4 ,f ! comm5cem5t1 ! /ud5t %\ld compel himself to /ret* = ! int]vals :5 necess>y1 & n contract ! bad habit ( us+ ! ?umb z a k9d ( pivot1 on :i* ! h& is mov$ backw>ds & =w>ds1 ! ?umb rema9+ 9 ! same position4 ,if ! /ud5t once gets into ?is habit1 8 hope ( ev] play+ p]fectly 9 tune1 especially 9 rapidly desc5d+ passages1 mu/ be ab&on$2 x is a bad habit1 h[ev]1 :i* ne>ly e le>n] w contract unless /rictly wat*$2 & :5 pupils :o h _h previ\s in/ruction come to me = lessons1 ,i g5]ally h to comm5ce ) a s]ies ( f+] ex]cises compos$ expressly = its correction4 ,! play] w f9d t aft] a few ye>s ( 'cello play+1 if ! correct sy/em ( f+]+ has be5 adopt$1 ! bones ( ! h& 7metac>pal7 seem to get q loose1 & are "u ! control ( ! muscles1 s t :5 ! f+]s are /ret*$ = a wide int]val1 !y are assi/$ by ! h&-bones1 :i* move direct f ! wri/1 almo/ l ! action ( ! metac>pal bone connect$ ) ! ?umb1 only ( c\rse 9 a mu* small] degree4 ,?is gives a great] wid? ( ! h&1 measur+ across ! knuckles1 & x is ) ?is capacity t ease 9 /ret*+ ! int]vals is arriv$ at1 & n ) long f+]s1 z "s are apt to imag9e4 ,f+]s ( m ?an ord9>y l5g? are ( no special assi/ance 9 'cello play+1 if !y are s firmly b\nd toge!r at ! knuckles z to hamp] free movem5t f side to side2 ?is is "o ( ! *ief reasons :y x w\ld be s difficult to ma/] a /r+$ in/rum5t1 if maturity %\ld be rea*$ be=e comm5c+ to le>n4 ,besides ! bones ( ! h& gett+ gradually b\nd toge!r ) ! surr\nd+ muscles & ligam5ts1 if n kept 9 con/ant use2 ! t5dons :i* are pla9ly disc]nable at ! back ( ! h& seem to lose individuality1 ?us we see "s ag$ p :o are unable to move any "o f+] indep5d5tly to ! o!rs4 ,! play] mu/ gr[ to 8 in/rum5t1 & x is wond]ful :at *ange does take place 9 ?is respect1 ! :ole "* ( ! h& be+ alt]$2 ?is has to come ab\t be=e any?+ l comm& ( ! in/rum5t c be expect$4 ,z a ready way ( describ+ ! locality ( ! v>i\s neck positions1 ! names ( ! notes /opp$ by ! fir/ f+] on ! ,a /r+ w be giv5 only4 ,9 ^! neck positions1 ! ?umb rema9s beh9d ! neck ( ! in/rum5t1 reta9+ z f> z possible ! same relation%ip to ! h& z 9 ! fir/ position1 already expla9$4 ,= ! half-position1 or :at is g5]ally kn[n z ! back-%ift1 ! h& %\ld move backw>ds f ! fir/ position ! di/ance ( half a tone1 ! fir/ f+] w !n /op ,a or ,b4 ,:5 play+ 9 extreme keys1 ?is half position is v useful1 especially :5 ! notes ( all ! f\r op5 /r+s h to be play$ %>p4 ,! di/ance ( ! second position f ! fir/ is only a semitone1 ! fir/ f+] /opp+ ,c4 ,?is position also be>s a rais$ position1 sometimes nam$ ! second-&-a-half position2 al?\gh x is easi] to designate x ! second rais$1 or if 9 flat keys ! ?ird l[]$ position4 ,= ?is position1 ! :ole h& moves =w>d f ! second position1 until ! fir/ f+] /ops ,c or ,d4 ,! ?ird position is di/ant a tone & a half f ! fir/ position1 ! fir/ f+] /opp+ ,d4 ,! second & ?ird positions are p]haps n s readily ma/]$ z are ! fir/ & f\r?1 or p]haps ev5 ! high] positions2 = ?is reason !y %\ld be all ! m p]sev]+ly practis$4 ,n only %\ld ! notes :i* are obta9able 9 ! second & ?ird positions h special att5tion1 ! /ud5t %\ld practise v>i\s leaps f any ( ! o!r positions1 until he has _! exact locality firmly fix$4 ,:5 play+ 9 ! f\r? position1 ! fir/ f+] /ops ,e1 ! h& %\ld be all[$ to re/ on ! ribs ( ! in/rum5t1 ?is w assi/ ! /ud5t 9 plac+ ! locality ( ?is position4 ,! f\r? position be>s a l[]$1 b n a rais$ position1 z !re is only a semitone betwe5 ,e & ,f4 ,! f\r? l[]$ position is id5tical ) ! ?ird rais$ position1 ! fir/ f+] /opp+ ,e = ! =m]1 & ,d = ! latt] =m4 ,! fif? position !re=e is a semitone high] ?an ! f\r?1 ! fir/ f+] /opp+ ,f4 ,f ! fif? position upw>ds to ! sev5?1 ! ?umb is all[$ to gradually leave its position beh9d ! neck1 until = ! sev5? position x only t\*es ! side ( ! l[] portion1 almo/ :]e ! neck jo9s ! body ( ! in/rum5t4 ,h[ev]1 ! ?umb %\ld reta9 its t\*1 s t ! h& may quickly assume ! necess>y attitude = ! l[] positions :5 requir$4 ,= ! fif? rais$ position ! fir/ f+] /ops ,f4 ,9 ! six? position1 ! fir/ f+] /ops ,g4 ,! f+]s are n[ 9 advance ( ! ?umb1 also ! /ud5t w obs]ve t 9 ^! high] positions1 ! di/ance betwe5 ! notes gradually gr[ small]4 ,x is n[ possible to /op ?ree notes sep>at$ by int]vals ( :ole tones 7major #bnds71 ) ! fir/1 second1 & ?ird f+]s1 & n z 9 ! fir/ position1 compulsory to use f\r f+]s to /op ?ree notes4 ,! six? rais$ position is tak5 ) ! fir/ f+] on ,g4 ,! sev5? position is ! highe/ neck position practicable1 ! fir/ f+] /opp+ ,a4 ,to sum up1 we f9d t !re are sev5 ord9>y neck positions1 ! fundam5tal notes ( :i* on ! ,a /r+1 are directly relat$ to ! diatonic scale ( ,c4 ,also !re are six half-positions1 ea* position be>+ a rais$ =m1 except :]e ! fundam5tal note ( two positions is only sep>at$ by a semitone4 ,?is occurs 9 two in/ances1 i4e41 betwe5 ! lead+-note & tonic ( ! ,c scale 7fir/ & second position71 & betwe5 ! m$iant & sub-dom9ant 7f\r? & fif? positions74 ,^! five rais$ positions1 toge!r ) ! back%ift1 gives u ! six4 ,toge!r ) ?is1 ea* position be>s a normal1 & a /ret*$ =m1 = ! =m] 9 ! l[] positions1 ! f+]s are all[$ to fall naturally at ! di/ance ( a semitone ap>t2 = ! latt] ! ?umb 7beh9d ! neck ( c\rse71 & "o or m f+]s rema9 9 ! position1 ! fir/ f+] be+ /ret*$ backw>ds1 or ! ?ird or f\r? f+]s /ret*$ =w>ds1 or bo?4 99 99 99 99 99 ,i am aw>e t "s !ori/s may object to ! me?od ( assign+ ! same position to say ,b & ,a1 on ! pr9ciple t ,b is l[] 9 pit* ?an ,a4 ,h[ev]1 if ! matt] is ?or\ghly look$ into1 we %all f9d t ! sy/em ( portion+ out ! f+]bo>d ) ma!matical exactness1 & giv+ to ! v>i\s gr\ps ! names ( positions1 is really "u ! control ( ano!r sy/em4 ,?is sy/em1 :i* is f\nd to be ! *ief factor bo? 9 s++ 9 tune1 & 9 giv+ ! /r+$ in/rum5tali/ ! p[] ( play+ 9 tune1 = want ( a m compreh5sive title might be nam$ relative pit*4 ,! /ud5t if suffici5tly advanc$ may easily prove ?is to himself 9 ! foll[+ mann]4 ,rev]se ! usual position ( ! in/rum5t1 t is1 in/ead ( hav+ ! f+]bo>d turn$ away1 place ! 'cello 9 su* a position t ! :ole l5g? ( ! f+]bo>d may be view$ f be=e4 ,n[ endeav\r to po9t out ! position ( any giv5 note1 x w be f\nd t an entirely wrong conception has be5 =m$ ( ! di/ance betwe5 ! int]vals1 & x w be almo/ impossible to place ! exact position1 :]e any isolat$ note c\ld be s\nd$ exactly 9 tune4 ,p]haps m success w be exp]i5c$ 9 plac+ ! position ( a few ( ! easi] divisions ( ! /r+1 l ! h>monic at ! half-/r+1 b /range z x may appe>1 ! attempts to po9t out ! exact positions ( notes ev5 9 ! fir/ position1 w1 9 ne>ly e case1 be complete failures4 ,if ! read] has _h mu* exp]i5ce 9 tea*+ ! 'cello1 & has become accu/om$ to judge ! di/ance ( notes by eye measurem5t1 he mu/ be consid]$ an exception to ! above4 ,?is proves to u !n t ! eye has1 or %\ld h1 no?+ to d ) gaug+ ! di/ances to be leap$1 or /ret*$1 = ! v>i\s int]vals4 ,x is "h t a wond]ful faculty is f\nd to exi/ 9 ! tra9$ violoncelli/2 ?is faculty is obta9$ by ! wond]ful connection betwe5 ! f+]s & arm movem5t1 & ! e>1 or m correctly1 ! bra94 ,at fir/ sight x appe>s v wond]ful h[ any giv5 int]val betwe5 two s\nds may be r$uc$ d[n to measurem5t1 & h its tonal "* repres5t$ by a physical movem5t1 b ) long practice ! movem5ts ( ! arm & f+]s become s p]fectly "u control1 & "w 9 su* sympa?y ) ! bra91 t ! act ( conceiv+ ! "* ( an int]val1 & its production1 seems almo/ to be accompli%$ by ! same bra9 action4 ,?is applies only to ! production ( "o note 9 relation to ano!r1 or to ! position ( a note 9 relation to a fix$ position1 & n to isolat$ notes4 ,h[ !n is ! 'celli/ to e/abli% ! pit*1 & decide ! position ( an isolat$ note1 if 9 su* a high position t no guide is giv5 to ! h&1 su* z is notic$ 9 positions l ! f\r?8 ,al?\gh pursu+ ?is subject has ! appe>ance ( lead+ u away f ! *ief matt] ( ! pres5t *apt]1 x is ( su* importance to ! in/rum5tali/ to "k exactly h[ to obta9 any isolat$ note1 & z x is s mu* m easily expla9$ at ! pres5t /age1 x w be bett] to consid] x /raight away4 ,! bra9 mu/ h "s basis :]eon to build up an expectation relative to any isolat$ s\nd4 ,?us1 if a solit>y note is repres5t$ on ! music page1 say ,e1 ! bra9 n hav+ any fix$ s\nd :]eby to place ! tonality ( ,e1 no expectation is rais$ z to its probable pit*2 to br+ ?is to practice4 ,a piani/ /rik+ ! "o note ,e1 on ! piano1 w\ld feel q satisfi$ ) ! pit* ( ! s\nd produc$1 :e!r ! piano %\ld happ5 to be tun$ a qu>t] ( a tone ei!r bel[1 or above conc]t pit*4 ,?is /atem5t is op5 to *all5ge by ! uphold]s ( ! !ory ( absolute pit*2 ,i am well aw>e t a few musicians h ?is gift ( absolute pit*1 & p]haps a great] numb] /ill1 f long practice ) "o fix$ s\nd--l ! s++ ma/] ) 8 ,c tun+ =k--are able to guess ! pit* ( t "o s\nd ) mod]ate success1 b = a musician to h ! pit* ( all ! range ( s\nds s ?or\ghly e/abli%$1 z to feel a s5se ( disappo9tm5t if an isolat$ note 0 s\nd$ ei!r slightly above1 or bel[ conc]t pit*1 is almo/ an impossibility1 if su* an "o does exi/ he mu/ be consid]$ an exception to ! above4 ,x may be accept$ z ! g5]al rule1 t until "o note is he>d1 no expectation is rais$ z to any giv5 note4 ,! 'celli/1 !re=e1 n hav+ any fix$ notes l ! piani/1 w\ld be completely at sea1 especially if a composition %\ld comm5ce on a note 9 r an awkw>d position1 say on ! ,e above ! ,a half /r+4 ,if an introduction 9 ! accompanim5t prec$$1 ! 'celli/ w\ld be able to tell aft] ! ,e 0 s\nd$1 :e!r he _h happ5$ to hit on ! "r position1 b x w\ld h>dly be edify+ to ! audi5ce to comm5ce ! note slightly out ( tune1 & %uffle to ! correct pit*1 aft] ! accompany+ *ords 7 /ruck1 nor w\ld !y appreciate a s]ies ( introductory grace notes lead+ to ! requir$ position4 ,x is "h t ! faculty ( gaug+ ! di/ance ( a kn[n int]val1 tak+ ! requir$ note by a leap f "s equally well kn[n position1 is br\ght into =ce4 ,if ! 'celli/ has j previ\sly tun$ 8 in/rum5t1 ! s\nds ( ! op5 /r+s w be /ill fre% 9 8 m9d1 disp5s+ ) ,a1 ,d & ,g1 ! ,c be+ ! ne>e/ relat$ to ,e w be imm$iately seiz$ ^u1 & a conception ( ! int]val to be leap$ 7a m9or ?ird above ! ?ird octave71 w be firmly e/abli%$4 ,aft] ?is ! process is *iefly me*anical1 ! move may be made f any position ! exact locality ( :i* ! /ud5t is ?or\ghly acqua9t$ )1 exactly z if leap+ f a note 9 t position to ! requir$ ,e1 z-- ,illu/ration3 ,,ex4 #ca 7,! b[ n to t\* ! /r+s until ! ,e is firmly /opp$ ) ! ?ird f+]1 ! grace notes m]ely %[ f :i* position ! leap is made47 ,! /ud5t %\ld c>ry out ?is pr9ciple = all difficult leaps1 & n seek = ! position by glid+ up1 or d[n to x4 ,h[ev] to return to our %eep1 ?is sy/em ( relative pit* affects ! p]=mance ( flat & %>p keys 9 ! foll[+ way1 z an illu/ration ! diff]5t mann] 9 :i* ,b & ,a is treat$1 al?\gh bo? be+ 9 ! back-%ift1 or half position1 w be demon/rat$4 ,illu/ration3 ,,ex4 #cb ,9 ! fir/ b> ( ,golt]mann's ,cantil5a 7,example #cb71 ! fir/ f+] is on ,a 9 ! back position1 ! "* ( ! accid5tal foll[+ ! ,b is su*1 t ! musician seems almo/ compell$ to s\nd ?is note z ne> ! ,b z possible4 ,x w\ld irritate a musician ) a well tra9$ e>1 to h any?+ b ! smalle/ int]val betwe5 ! two notes1 he w !re=e q unconsci\sly make ! ,a z %>p z possible1 :i* conclusively proves t !re is n any necessity = =m+ two positions = ^! enh>monic diff]5ces4 ,illu/ration3 ,,ex4 #cc ,"h we h a diff]5t idea ( ! ,b--! equival5t to ,a4 ,! progression f ,c to ,b 7,example #cc71 in/ead ( giv+ "o ! idea t ! ,b %\ld be drawn to ! ,c1 has ! opposite effect2 a s5se ( satisfaction is only felt1 :5 ! l>ge/ possible int]val betwe5 two tones is made betwe5 ! sup]-tonic & tonic4 ,) ! second ,b1 ! feel+ is to glide quietly (f ! lead+ note on to ! tonic1 mak+ ! lea/ possible int]val4 ,?us ! ,b is pu%$ d[n by ! ,c1 & aga9 drawn d[n by ! ,a1 mak+ x impossible ) any s5se ( satisfaction to play x 9 any?+ b its flatte/ =m4 ,all ?is w be evid5t to ! cultur$ musician1 to :om ^! rem>ks may appe> some:at sup]flu\s2 b to ! le>n]1 :o has n arriv$ at t /age ( e> p]fection1 :5 ! half-flat1 half-natural /yle ( play+ flatt5$ notes is a positive annoyance1 ! h9ts may be ( s]vice 9 tea*+ him t any?+ %ort ( absolute correctness ) respect to play+ 9 tune is n to be tol]at$4 ,) respect to ! *oice ( positions1 s _m ?+s are to be tak5 into consid]ation t only g5]al h9ts may be giv54 ,! gold5 rule is--,nev] move into a m remote position ?an is absolutely necess>y4 ,9 sl[ expressive passages1 ev]y?+ mu/ give way to all[ ( correct phras+2 ?us to pres]ve a uni=m quality ( tone ?r\gh\t a p>ticul> phrase1 x w sometimes be necess>y to "w along "o ( ! l[] /r+s up to ! six? or sev5? positions1 9 pref]5ce to us+ ! next high] /r+4 ,9 or*e/ral "w1 & g5]ally 9 quick movem5ts1 ! *ief matt] to consid]1 z previ\sly /at$1 is economy ( motion1 b ev5 9 quick movem5ts effect1 :i* may be consid]$ ! c\nt]p>t ( ! g5]ally accept$ t]m ( expression1 has also to be tak5 into acc\nt4 ,occasionally a k9d ( v]ve or vig\r1 or sometimes a c]ta9 da9t9ess 9 effect is produc$1 if in/ead ( play+ a passage 9 ! quiete/ way1 x is tak5 along ! /r+4 ,a /rik+ example ( ?is may be se5 9 ! fir/ movem5t ( ! ,golt]mann conc]to 9 ,d1 op4 #ajj4 ,illu/ration3 ,,ex4 #cd ,x w\ld be possible to play ?is passage across ! /r+s )\t hav+ to move out ( position1 h[ev] ! effect is mu* height5$ :5 play$ z f+]$ above 7,ex4 #cd7 ! :ole effect be+ augm5t$ by ! octave passage :i* foll[s1 gradually work+ upw>ds until ! climax is rea*$ on ! high ,e h>monic4 ,!re is yet ano!r matt] :i* ,i am well aw>e 9 really high art %\ld n f9d a place3 t is ! mann] 9 :i* a complete ma/]y ov] se5 difficulties affects an audi5ce4 ,we are told t musicians %\ld rea* _! audi5ces ?r\gh ! e> & n ! eye1 b :5 "o consid]s ! num]\s class ( compositions :i* h be5 writt5 solely to display ! brilliant te*nique ( ! soloi/1 or to %[ ! possibilities ( ! violoncello z a solo in/rum5t1 & t _m ( ^! works are writt5 by really great compos]s1 ! fact is =c$ to be ackn[l$g$ t ?is phase ( our subject mu/ be consid]$4 ,x w be f\nd t _m passages 9 su* compositions are1 :5 analyz$1 f\nd to be q wor?less 9 a musical s5se1 ! only excuse = _! introduction be+ t !y (f] a good *ance = ! play] to display "s brilliant feats 9 b[+ or f+]+4 ,!re=e 9 play+ pieces ( ?is description1 x w\ld n be wise to sacrifice brilliance1 = ! sake ( an easi] & consequ5tly a quiet] me?od ( f+]+4 ,f ! =ego+ rem>ks x w be ga!r$ t v>i\s matt]s mu/ be tak5 into consid]ation1 especially by ! soloi/1 :5 f9ally decid+ 9 :i* positions to play any composition4 ,! me*anical difficulties :i* are pat5t to ! violoncello1 mu/ n be all[$ to int]f]e ) ! phras+ ( a melody1 or ) ! musical significance ( an idea4 ,nor 9 ! o!r direction1 ! violoncelli/ mu/ n ov]load any passage ) effects1 simply because ! 'cello happ5s to be especially adapt$ = su*1 )\t any real w>rant t su* graces or additions are int5d$4 ,?is applies p>ticul>ly to ! introduction ( ! glide1 :i* w be next treat$4 ,,*apt] ,,ix4 ,,portam5to--,,! ,,v>i\s ,,uses ,,( ,,glid+--,,"s ,,exagg]ations ,,expos$--,,h[ ,,to ,,leap ,,great ,,int]vals ,,)\t ,,h[l+--,,comb9ation ,,( ,,gliss&o ,,& ,,s=z&o4 ,,portam5to4 ,! subject ( glid+1 al?\gh ref]r+ m directly to phras+1 is s ne>ly connect$ ) %ift+ & ! *oice ( positions t "o is ins5sibly l$ into its treatm5t4 ,a melody %\ld nev] dep5d on ! *>act]i/ics ( an in/rum5t = its effectiv5ess1 al?\gh mu* individual *>m is giv5 to a composition by su* *>act]i/ics be+ all[$ to ass]t !mselves )\t spoil+ ! int5tions ( ! compos]4 ,?us ! phras+ %\ld nev] be m>r$ j because x is conv5i5t or inconv5i5t to introduce t connect+ l9k1 ! glide4 ,i %all 9 ?is *apt] endeav\r to expla9 a few ( ! _m me?ods ( glid+1 & ! reasons :y "o me?od is us$ 9 pref]5ce to ano!r2 _! practical application w be le>n$1 p>tly f a k ( phraseology & musical =m1 & also f exp]i5ce4 ,! human voice is suppos$ to be ! mo/ p]fect musical in/rum5t--if "o may s t]m x2 all in/rum5ts :i* are made by man hav+ 9 comp>ison "s imp]fection4 ,?us1 x is impossible on ! pian(orte to comm5ce a su/a9$ note piano & gradually swell out to =te1 nor is x possible to glide "o note into ano!r1 al?\gh mu* may be done 9 ?is direction by caus+ ! note to s+ 9 su* a mann]1 t "o note seems to be su/a9$ until ! next has be5 t5d]ly approa*$4 ,ea* note has to rema9 fix$ z f> z pit* is conc]n$1 ! idea ( glid+ only apply+ to ! ?ickness ( ! tone be+ v>i$ :5 quitt+ "o note & approa*+ ! next4 ,! latt] rem>ks apply also to w9d in/rum5ts4 ,no matt] h[ small is ! break betwe5 two notes1 or 9 :at mann] art is introduc$ to conceal or 9 any o!r way attempt to make up = ?is defici5cy1 x is yet !re1 & to a great ext5t mu/ influ5ce ! int]pretation ( a composition4 ,! violoncello resembles ! human voice p]haps m ?an any o!r in/rum5t4 ,! "* ( ! tone 9 c]ta9 portions ( its regi/] is v simil> to t ( ! human voice1 & )\t go+ too f>1 x may be said t x is possible to produce ne>ly all ! v>i$ effects ( articulation ( :i* ! voice is capable1 except actually speak+4 ,?us ! v>iation 9 tone :i* s+]s produce by a clev] managem5t ( ! brea?1 ! glide :5 two notes are sung to a v[el s\nd1 ! h>d s\nd ( an initial consonant1 ! vibrato1 & num]\s o!r effects are all possible on ?is mo/ human in/rum5t4 ,h[ev]1 z f> z glid+ is conc]n$1 ! 'cello has a big range1 & f> m is expect$ f ! in/rum5tali/1 9 ! way ( leap+ to & f notes at extreme di/ances1 ?an is ev] expect$ f a s+le voice4 ,! vocali/ p]=ms simil> skips by an unconsci\s1 & to a c]ta9 ext5t1 involunt>y contraction ( ! v>i\s small & delicate muscles 9 ! l>ynx4 ,! 'celli/ has sometimes to make a sweep ( ! :ole l5g? ( ! f+]bo>d1 or to break ! fl[ ( ! melody by leap+ ov] "o or m /r+s4 ,?is !n w %[ ! imp]fections ( ev5 ! mo/ p]fect in/rum5t made by man :5 comp>$ ) ! voice2 ! 'celli/ mu/ endeav\r by ! aid ( art to ov]come1 or conceal1 ! bad effects :i* may be caus$ by ! me*anical difficulties ( 8 in/rum5t1 & tak+ ! voice z an example endeav\r to int]pret a composition 9 ! same mann] z w\ld a good vocali/1 imitat+ z closely & tru?fully z possible ! phras+ & ! v>i\s effects :i* "o obs]ves 9 s++4 ,"s pr(essors ( ! /rictly classical s*ool condemn all glid+ z faulty2 ! f9e/ ( ^! play]s are not$ = _! p]fect intonation1 b are also not$ = _! lack ( s5tim5t4 ,any exagg]ation 9 ! opposite direction1 h[ev]1 t5ds to undue s5tim5tality1 & to an unprep>$ audi5ce w h mo/ disa/r\s results4 ,x is well kn[n t ! play] may s accu/om himself to glide on to ! notes1 t any am\nt ( exagg]ation 9 ?is respect seems q "r4 ,! play] %\ld regulate 8 p]=mance accord+ to ! mann] 9 :i* ! abs5ce1 or too great a prom95ce1 ( ! glide 9 ! play+ ( o!rs affects him2 ?is is ! only safe way to judge1 z ! effect on ! li/5] is always m pron\nc$ ?an on ! play]4 ,9 almo/ e melody !re are places :]e e musician feels compell$ to dwell on ! int]val betwe5 two notes1 su/a9+ ! "o note1 & reta9+ ! adv5t ( ! o!r2 ?is expressive k9d ( gliss&o1 besides be+ ! mo/ pron\nc$ 9 its effect1 is consequ5tly ! mo/ objectionable if incorrectly us$4 ,on ! violoncello x is produc$ by play+ two notes ) ! same f+]1 glid+ sl[ly f "o position to ! o!r4 ,?is glide mu/ nev] be us$ to connect two notes :i* are sep>at$ by a l>ge int]val1 z a mo/ unpleasant h[l+ w be occasion$2 ! only places :]e x may be introduc$ are at a cad5ce1 or at ! full close ( a musical composition1 :]e ! t]m9al note ( ! phrase is rea*$ by a desc5d+ passage1 & !n x mu/ only be tak5 on an int]val compos$ ( n m ?an "o or two :ole tones at ! mo/4 ,vocali/s g5]ally make ! mo/ ( ?is glide to su/a9 a passionate deliv]y at ! close ( a vocal piece1 & inde$ x has a v di/urb+ effect on ! li/5]4 ,?is effect may be describ$ z be+ occasion$ 9 ! foll[+ mann]2 9 accordance ) ! musical /ructure ( ! composition1 ! li/5] expects a c]ta9 note to be s\nd$1 ?us :5 ! close ( a composition is be+ approa*$1 ! li/5] naturally expects ! tonic 7key-note74 ,naturally !re=e1 any?+ :i* delays ! tonic--:e!r x be a slight rit>d1 a su/a9$ trill1 or ! seem+ unwill+ness ( ! play] to quit ! note prec$+ ! tonic1 al?\gh hav+ an excit+ influ5ce ov] ! li/5]1 makes ! appe>ance ( ! f9al note m acceptable & ! consequ5t re/ & satisfaction m complete4 ,i mu/ "h caution ! read] aga9/ glid+ to ! tonic f ! lead+-note1 t is unless ! id5tity ( ! tone is aft]w>ds firmly e/abli%$ by be+ play$ aga9 on an acc5t$ "p ( ! b>4 ,if ! examples "h giv5 7,ex4 #ce7 are /udi$1 x w be se5 t 9 ea* case ! t]m9al note ( ! phrase ?or\ghly e/abli%es itself on ! e> by be+ twice s\nd$1 fir/ on an unacc5t$ beat1 !n on ! /rongly m>k$ portion ( ! b>4 ,! e> requires ?is to give x ! necess>y assurance ( ! id5tity ( ! tonic4 ,9 asc5d+ passages ! approa* to ! tonic f ! lead+-note is by s small an int]val 7half-tone71 t ! arrival at ! close mu/ always be di/9ct1 ! introduction ( ! glide on s small an int]val1 w\ld give ! appe>ance ( ! tonic be+ play$ out ( tune4 ,illu/ration ,illu/ration3 ,,ex4 #ce ,! glide 9 ea* case 7,ex4 #ce7 is made on ! two notes connect$ ) a slur4 ,! glide ( next importance is g5]ally introduc$ 9 imitation ( t produc$ by vocali/s :5 two notes are tak5 on a v[el s\nd2 ! only diff]5ce to be obs]v$ by ! 'celli/ is t ! int]val1 & consequ5tly ! glide1 mu/ n be s /rongly m>k$4 ,! same me?od ( f+]+ z t giv5 = ! glid+ previ\sly expla9$ may be us$1 b z ?is glide is sometimes tak5 on notes at extreme di/ances1 ! b[ mu/ be nicely manag$1 & ! %ift+ done firmly & rapidly s t any unpleasant h[l+ is n too mu* 9 evid5ce4 ,! introduction ( ?is glid+ is really a matt] ( ta/e1 ! only uses ) :i* x c be cr$it$ 9 in/rum5tal music1 are to l5d a c]ta9 am\nt ( t5d]ness to a melody1 & also to connect any wide int]vals or isolat$ notes1 :i* o!rwise w\ld spoil ! phras+4 ,! two =ego+ me?ods ( gliss&o may be t]m$ ! only /yles ( glid+ :i* are introduc$ solely = effect 9 an active s5se1 ! rema9+ /yles ( glid+ are m]ely passive 9 _! nature1 & are introduc$ to cov] ! defects ( ! in/rum5t1 9 ! way ( bridg+ ov] any awkw>d leaps caus$ by ! necess>y l5g? ( /r+ to be cov]$4 ,be=e proce$+1 ,i w\ld "h caution ! /ud5t aga9/ bl9dly foll[+ all ! exagg]ations 9 :i* ev5 our be/ vocali/s occasionally indulge4 ,a %ort "t ago ,i he>d a well kn[n t5or s+ ! song ,annie ,laurie1 ! la/ l9e ( :i* 0 giv5 aft] ?is fa%ion4 ,illu/ration3 ,,ex4 #cf ,! glide to & f ! top ,f 0 q correct1 & inde$ v expressive1 ! objectionable "p be+ ! mann] ( divid+ ea* ^w1 & ev5 introduc+ ano!r syllable s t ! foll[+ note may be anticipat$4 ,h[ev] by ^! exagg]ations ! s+] succe$$ 9 br++ d[n ! h\se1 s ,i suppose he 0 satisfi$4 ,?is is almo/ ak9 to ! me?od adopt$ by "s in/rum5tali/s to height5 ! effect 9 a passage made up ( deta*$ notes4 ,in/ead ( *ang+ ! b[-/roke at ! mom5t ! leap is made1 dur+ a slight break betwe5 ! notes1 ! me?od is to *ange ! b[-/roke be=e ! fir/ note is quitt$1 !n glide rapidly to ! next note1 at ! same "t produc+ a s=z&o2 ! effect is se5 9 ,ex4 #cg4 ,illu/ration3 ,,ex4 #cg ,i m5tion ?is solely to caution "y play]s aga9/ unconsci\sly =m+ a habit :i* is at once incorrect & vulg>1 & al?\gh play]s ( ! fir/ rank 9 ! height ( _! passion may sometimes employ ?is artifice to m fully express _! feel+s1 x w\ld be unwise = "o ( less] musical /&+ to attempt t :i* great arti/s only employ on suff]ance4 ,! mo/ +5i\s me?od adopt$ by /r+$ in/rum5t play]s to cov] a great expanse ( /r+1 )\t ei!r *opp+ up ! phrase or giv+ too mu* prom95ce to ! glide1 01 ,i believe1 fir/ giv5 by ,spohr2 x may be expla9$ z foll[s4 ,9 an asc5d+ passage1 ! play] mu/ always h at lib]ty "o ( ! f+]s to /op a high] note ?an t produc$ by ! glid+ f+]1 s t ! glid+ has n to cov] ! :ole di/ance ( ! int]val 7see ,ex4 #ch74 ,9 desc5d+ passages ! rev]se takes place1 ! glide be+ execut$ ) ! ?ird or f\r? f+]1 ! fir/ or second f+]s be+ reta9$ to /op ! l[] note on ! arrival ( ! h& 9 position4 ,illu/ration3 ,,ex4 #ch4 ,! grace notes 9 ! above examples mu/ n on any acc\nt be he>d4 ,to prev5t any possibility ( ?is1 ! f+] /opp+ ! second note mu/ be firmly plac$ almo/ be=e ! glid+ has ceas$1 ! introduction ( ! grace notes 9 ! above examples be+ m]ely to illu/rate ! me?od ( c>ry+ ! glide up to ! necess>y position1 !n firmly /opp+ ! requir$ note4 ,o!r me?ods ( glid+ h to be inv5t$ = special passages1 or = ! production ( extraord9>y effects4 ,"o ( ! mo/ surpris+ effects is to comb9e ! s=z&o ) a /rongly m>k$ glide1 ! s=z&o be+ giv5 on ! second note ( ! slur1 & ! glide be+ ( ! mo/ pron\nc$ type4 ,i h he>d our great viol9i/1 ,john ,dunn1 occasionally give v5t to 8 feel+s 9 a slightly exagg]at$ glide & s=z&o comb9ation ( ?is description1 & = wak+ up a sleepy or apa!tic audi5ce1 ,i c /rongly recomm5d x4 ,beyond all ^! h9ts1 & f> remov$ f any explanation1 !re rema9s t delicacy ( feel+ :i* ! arti/ alone c introduce into 8 play+--t subtle managem5t ( b[ & f+]s1 s necess>y to really f9e play+4 ,ev5 9 ! matt] ( glid+ ?is is easily recognis$2 ! v>y+ spe$ at :i* ! glide is tak51 ! pressure put on ! /r+s or o!rwise1 acc5t+ ! comm5cem5t ( ! glide & lightly approa*+ ! second note1 or lightly glid+ (f ! fir/ note & /rongly acc5t+ ! arrival at ! second2 ! v>y+ pressure br\ght to be> on ! b[1 etc41 etc4 ,all ?is mu/ come f natural feel+1 & _c be taught1 no matt] h[ clev] ! tea*] or h[ will+ ! pupil4 ,,*apt] ,x4 ,,d\ble-,,/opp+--,,useful ,,9 ,,develop+ ,,! ,,h&--,,h[ ,,to ,,det]m9e ,,! ,,f+]+ ,,( ,,v>i\s ,,int]vals--,,glid+ ,,9 ,,d\ble-,,/ops--,,*ords--,a ,,correct ,,mann] ,,( ,,play+ ,,*ords4 ,,d\ble-,,/opp+4 ,9 consequ5ce ( ! great di/ances :i* sep>ate ! notes 9 ! neck positions on ! violoncello1 no?+ v extraord9>y is writt51 or is expect$ 9 ! matt] ( d\ble-/opp+4 ,h[ev] z a tra9+ = ! left-h&1 !re is no?+ to equal a s]ies ( well plann$ /udies 9 d\ble-/opp+2 by practis+ su*1 ! /ud5t obta9s a comm& ( ! v>i\s /ret*es necess>y = a correct use ( ! f+]s ( ! left h&4 ,dotzau]1 9 8 fam\s /udies1 seems to h recogniz$ ?is1 & by ! regul>1 sy/ematical introduction ( d\ble-/opp+ ex]cises ( v>y+ & increas+ difficulty1 almo/ compels ! absolute developm5t ( ! left h&4 ,9 practis+ d\ble-/ops1 ! /ud5t mu/ always be c>eful to cause equal pressure to be appli$ by ! b[ to bo? /r+s1 s t ea* note ( ! *ord is di/9ctly he>d4 ,"s "y play]s on ! o!r h&1 in/ead ( requir+ to be urg$ to d ?is1 are unable to give two /r+s a cont9u$ ev5 vibration1 )\t exp5d+ an undue am\nt ( =ce1 b ?is is really s elem5t>y a matt] t a little practice on ! op5 /r+s 7s\nd+ !m 9 twos7 %\ld easily set "r4 ,beyond ?is ! play] %\ld h all ! v>ieties ( light & %ade j z mu* at comm& 9 ! b[+ ( d\ble-/ops1 z 9 play+ s+le notes4 ,) respect to ! left h&1 ! *ief difficulty :i* fir/ assails ! /ud5t is t ( judg+ ! "* ( ! int]vals1 & = _! production--9 kn[+ exactly 9 :at =m ! h& %\ld be2 ?us 9 c]ta9 *ords ! h& has to assume its mo/ /ret*$ =m1 = o!rs ! normal1 or clos$ positions ( ! f+]s are necess>y4 ,?is k is really ( great importance2 bo? notes ( a *ord mu/ be s\nd$ simultane\sly1 !re=e ev5 be=e ! *ord is approa*$1 ! play] mu/ be consci\s ( ! =m1 z well z ! position 9 :i* ! h& has to be1 9 ord] to play any comb9ation ( notes4 ,a few ( ! easi] *ords 9 d\ble-/ops may readily be le>n$ 9 ! foll[+ fa%ion3 ,tak+ ! fif? z ! basis1 x w be evid5t t if any f+] be plac$ horizontally across two /r+s1 9 any "p ( ! in/rum5t1 a p]fect fif? w be produc$4 ,to accompli% ?is ! /ud5t w h to dep>t f ! rule respect+ ! /opp+ ( notes ) ! tips ( ! f+]s1 z x is impossible to produce a fif? except ) flat f+]+1 or ( c\rse ! op5 /r+s4 ,f ?is x w be an easy matt] to settle ! f+]+ ( a major six?2 9 ! fir/ position1 a major six? may be produc$ by us+ a l[] op5 /r+1 & ! fir/ f+] on a high] /r+1 ?us 9 any position ! f+]+ ( major six?s is obta9$ on ! same pr9ciple1 viz41 ! high] note is f+]$ a :ole tone 9 advance ( ! l[]4 ,! same me?od may be tak5 to obta9 ! f+]+ ( a p]fect f\r?4 ,9 ! fir/ position1 us+ ! op5 /r+1 a f\r? 9 d\ble-/ops is produc$ ) ! op5 /r+ = ! high] note1 & ! fir/ f+] on ! next l[] /r+ = ! l[] note2 "h ! l[] note is f+]$ z f> z position is conc]n$ a :ole tone 9 advance ( ! high] note4 ,major ?irds 9 ! neck positions1 h to be play$ ) ! set f+]+ ( f\r? & fir/2 us+ ! f\r? f+] = ! l[] note & ! fir/ on ! next high] /r+ = ! high] note4 ,a little "t exp5d$ 9 ! /udy ( ,ex4 #ci w cle>ly illu/rate ! prec$+ rem>ks1 & at ! same "t w prove conclusively1 t if d\ble-/ops are only treat$ accord+ to _! h>monic wor?1 t is z p]fect fif?s1 f\r?s1 major & m9or six?s1 ?irds1 etc41 ! difficulties ( extreme keys1 & positions1 w 9 a great measure be cle>$ away4 ,illu/ration3 ,,ex4 #ci4 ,?us 9 any position ! relation ( two notes 7provid+ ! h>monic value is ! same7 rema9s undi/urb$1 ! only diff]5ce 9 ! f+]+ be+ 9 ! l[] positions :]e ! op5 /r+s are utiliz$1 & ! only modification be+ 9 ! v high positions1 :]e ! gradually decreas+ di/ances ( ! int]vals r5d] ! use ( ! f\r? f+] unnecess>y4 ,be=e attempt+ any?+ great 9 ! matt] ( d\ble-/opp+1 ! /ud5t %\ld practice v>i\s scales 9 six?s1 ?irds1 etc4 7bo? notes be+ s\nd$ toge!r7 & also any possible arpeggi 9 d\ble-/opp+1 aft] ! mann] ( ,ex4 #dj4 ,illu/ration3 ,,ex4 #dj4 ,! /ud5t w n f9d any publi%$ arrangem5t ( arpeggi 9 ?is =m1 b he may easily con/ruct !m = himself1 us+ only ! tonic1 m$iant1 & dom9ant ( ! key4 ,x w be f\nd t a little practice 9 ?is direction w amply repay1 z to accompli% ! play+ ( arpeggi 9 d\ble-/opp+ )\t scrambl+ & ) ! int]vals correctly 9 tune1 means a comm& ( ! positions truly rem>kable4 ,9 read+ works compos$ *iefly ( d\ble-/ops1 x is at fir/ r difficult to decide 9 :i* position any passage %\ld be play$4 ,! progression ( bo? melodies has to be wat*$1 z well z ! int]vals :i* sep>ate any giv5 two "p *ord1 ! f+]+ is also affect$ by ! prec$+ & ! foll[+ *ord1 z well z by ! introduction ( pass+ notes1 or su* ornam5tation z trills1 turns1 etc41 9 ei!r ( ! p>ts4 ,) respect to %ift+1 leap+1 etc41 9 d\ble /ops1 ow+ to ! *oice ( f+]+ be+ curtail$1 ! play] mu/ be c>eful t no unpleasant h[l+ is ?us caus$4 ,9 passages compos$ ( ?irds 7slurr$71 ! play] mu/ leap firmly & rapidly f "o *ord to ano!r1 & :]e necess>y )draw ! pressure f ! b[1 s t al?\gh ! passage is yet slurr$1 ! connect+ glide is n too mu* 9 evid5ce4 ,illu/ration3 ,,ex4 #da4 ,a /rik+ example ( ! ne$ ( ?is advice is f\nd 9 ! ,milit>y ,sonata by ,boc*]9i 9 ,g 7,ex4 #da74 ,?is passage is play$ ?r\gh\t ) ! fir/ & f\r? f+]s--t is ! fir/ f+] plays ! upp] melody1 ! f\r? f+] play+ ! l[]4 ,x w be evid5t t ! beauty ( ! above melody w be de/roy$ if no division :atev] is made betwe5 ! notes4 ,?is mu/ be accompli%$ )\t spoil+ ! legato effect ( ! ?ree slurr$ quav]s4 ,a skilful managem5t ( ! b[ may also s]ve to hide a difficult & awkw>d move2 ?us 9 cases :]e ! f+]+ is rev]s$ = two succe$+ *ords 7,ex4 #db71 x is liable to let ! op5 /r+s be he>d dur+ ! *ang+ ( ! f+]s1 especially if a big leap has to be made to rea* ! second *ord4 ,?is w be v slov5ly1 & on no acc\nt mu/ be all[$4 ,illu/ration3 ,,ex4 #db4 ,! portam5to may be introduc$ 9 d\ble-/opp+ progressions = effect1 b m k & judgm5t is necess>y = its successful use ?an 9 s+le melodic progression4 ,x is g5]ally safe to introduce x on two *ords tak5 ) ! same f+]+ 9 diff]5t positions1 ) ! exception1 ( c\rse1 ( :ole passages 9 ?irds1 etc41 l ! ,m5uetto 9 ! ,boc*]9i sonata previ\sly m5tion$4 ,occasionally1 :5 mov+ f "o position to ano!r1 x w be f\nd advisable1 or necess>y1 to let "o ( ! p>ts cease1 until ! requir$ position is ga9$1 ! glide be+ execut$ betwe5 ! upp] notes only2 ! play] mu/ /udy any su* special passages1 try+ !m ov] 9 v>i\s ways1 until he is p]fectly satisfi$ t ! correct1 & yet mo/ effective me?od1 is arriv$ at4 ,,*ords4 ,ow+ to ! ar*+ ( ! bridge1 x is impossible to su/a9 m ?an two notes dur+ ! :ole /roke ( ! b[4 ,!re=e1 ?ree or f\r "p *ords are only possible z brok5 *ords 7,ex4 #dc74 ,a bold attack is necess>y to play *ords at all effectively1 ! f+]s ( ! left h& %\ld be plac$ simultane\sly on ! /r+s1 ! necess>y *anges 9 f+]+ = a succession ( *ords1 be+ accompli%$ rapidly & neatly dur+ ! mom5t ( rev]s+ ! b[-/roke4 ,illu/ration3 ,,ex4 #dc4 ,x is g5]al to expla9 t al?\gh *ords are writt5 z 9 ,ex4 #dc1 yet x is only possible to play !m z 9 ,ex4 #dc;a4 ,h[ev]1 if ! *ords h to be play$ 9 /rict "t1 x w also be evid5t t ev5 ?is me?od _c be foll[$--ea* m9im w\ld receive ?ree beats1 "o = ! two l[] notes & two = ! two upp]4 ,a correct way ( portion+ out ! "t to be all[$ = ea* c\ple ( /r+s is %[n 9 ,ex4 #dc;b4 ,! /ud5t %\ld "h c\nt f\r quav]s to ea* *ord4 ,illu/ration3 ,,ex4 #dd4 ,9 "s cases ! *ords are int5d$ to be firmly & sm>tly /ruck1 su* z repeat$ *ords at ! end ( a brilliant allegro1 ! *ords %\ld be divid$1 all[+ half ! "t = ! l[] /r+s & half = ! upp]1 & in/ead ( su/a9+ ! upp] portion1 ! b[ %\ld be imm$iately tak5 (f ! /r+s1 ?us all[+ !m to vibrate freely & vigor\sly 7,ex4 #dd74 ,*ords ( ?is description are usually tak5 ) d[n b[-/rokes4 ,! play] %\ld take c>e1 h[ev]1 n to make ! *ords s\nd too h>%1 or crabb$4 ,,*apt] ,,xi4 ,,arpeggios--,,_! ,,evolution ,,f ,,v>i\s ,,*ords--,,! ,,b[+ ,,( ,,arpeggios4 ,,arpeggios4 ,arpeggios are *ords1 ! notes ( :i* are s\nd$ sep>ately4 ,a modifi$ way ( express+ t *ords are to be play$ 9 arpeggio1 is by plac+ a curv$ l9e imm$iately prec$+ ! *ord1 ?us3 ,illu/ration3 ,,ex4 #de4 ,key arpeggi are =m$ f ! common *ord1 t is ! tonic1 m$iant & dom9ant2 !y may be practis$ z runn+ arpeggi 9 ?ree octaves4 ,^! arpeggi are publi%$ = 'cello 9 a v useful =m1 toge!r ) ! major & m9or scales1 etc41 by ! ,/4 ,cecilia ,music ,publi%+ ,co42 ! arrangem5t is by ,c[>d ,klee4 ,! notes ( a *ord :i* are to be play$ z arpeggios1 are sometimes int]sp]s$ ) notes =eign to ! *ord 9 ! =m ( pass+ notes1 & ne>ly always "o or m notes ( ! *ord are reit]at$ 7,ex4 #df74 ,illu/ration3 ,,ex4 #df4 ,ex4 #df w illu/rate h[ arpeggios are usually evolv$ f a *ord4 ,fir/ is %[n ! ,g major triad2 #df;a gives ! ?ree "p *ord play$ 9 arpeggi =m2 #df;b has ! m$iant & ! dom9ant repeat$1 & #df;c introduces ! ,c & ! ,a1 bo? notes be+ =eign to ! h>mony1 b us$ z pass+ notes4 ,_m o!rwise difficult passages1 are r5d]$ q simple to ! /ud5t1 :o only consid]s ( :at *ord ! scatt]$ notes =m ! h>mony4 ,9 play+ arpeggios ! h9ts previ\sly giv5 9 ! rem>ks on ! ,left h&1 ,positions1 ,d\ble-/ops & ,*ords1 conc]n+ a correct managem5t ( ! left h& f+]s are applicable4 ,! rema9d] ( ! pres5t *apt] w be *iefly devot$ to ! managem5t ( ! b[1 9 sev]al ( ! /&>d =ms ( arpeggio4 ,,arpeggios 7,,b[+74 ,! mann] ( b[+ ! v>i\s =ms ( arpeggio1 (f]s difficulties ( a peculi> nature to ! /ud5t2 ?is is *iefly occasion$ by ! cross+ & recross+ ( ! /r+s1 :i* al?\gh greatly add+ to ! possibilities & brilliance ( _m ( ! v>i\s modes ( phras+1 also 9 mo/ cases adds to ! difficulty ( a quiet p]=mance4 ,a ?or\gh k ( ! arm & wri/ movem5ts :i* are br\ght into use 9 approa*+ any ( ! f\r /r+s ) v>i\s p>ts ( ! b[1 & ) ei!r up or d[n b[-/roke is ess5tial2 ?is k is n to be ga9$ by h>d practice1 b r by a c>eful analysis ( ! me*anics 7if ! ^w may be us$ 9 ?is s5se7 ( simple b[+4 ,! end to be kept 9 view %\ld be to accompli% ! cross+ ( ! /r+s 9 z quiet a mann] z possible1 t is ) a m9imum ( ef=t2 z an aid to ?is1 :]ev] possible ! elb[ & upp] arm %\ld be held 9 a quiet position ne> ! side1 ! *ang+ ( ! b[ f "o /r+ to ano!r be+ *iefly accompli%$ by a wri/ movem5t1 or by a slight upw>d movem5t ( ! =e-arm4 ,illu/ration3 ,,ex4 #dg4 ,arpeggios on ?ree or f\r /r+s phras$ z ,example #dg;a %\ld be play$ ) alt]nate d[n & up b[ /rokes1 always attack+ ! arpeggio comm5c+ ) ! l[] /r+ ) ! d[n b[4 ,= a mod]ate allegro1 ab\t half ! b['s l5g? may be us$1 ! two middle f\r?s 7upp] & l[]7 be+ ! mo/ s]viceable2 ! b[+ %\ld be z smoo? z possible1 ea* note be+ ( equal l5g?2 9 ! triplet arpeggio ! cu/om>y acc5t on ! fir/ ( ea* gr\p mu/ be obs]v$1 & 9 e case ! gr\ps %\ld be q di/9ctly sep>at$4 ,9 mix$ b[+s z ,example #dg;b1 ! same quantity ( b[ /roke mu/ be us$ = ! deta*$ note z = ! slurs2 ! deta*$ quav] or semiquav] 9 ea* case be+ tak5 ) a light up-b[4 ,ex]cise #dg;c is a v brilliant /yle ( b[+1 yet g5]ally v easy to acquire4 ,! b[ is ?r[n ) =ce = ! fir/ note ( ea* gr\p1 !n ) a nicely regulat$ wri/ movem5t1 assi/$ by ! =e-arm to all[ suffici5t /roke1 ! ?ree or f\r spr++ /rokes fall1 "o = ea* note4 ,any slov5l9ess 9 ! managem5t ( ! wri/ w result 9 "s ( ! notes be+ miss$1 & o!rs obta9+ m ?an "o ( ! spr++ /rokes4 ,al?\gh ?is /yle ( b[+ is express$ exactly z solid /accato1 x is v seldom t arpeggios w\ld be play$ o!r ?an ) slurr$ spiccato1 ! unhelpable r\ghness :i* accompanies a %ort /accato /roke on an op5 /r+1 r5d]s ! solid /accato impracticable = passages regul>ly cross+ ! /r+s4 ,?is b[+ is (t5 us$ ) alt]nate gr\ps ( smoo? slurr$ b[+s4 ,example #dh;a is a /yle ( phras+ :i* %\ld always comm5ce ) ! up-b[2 ! reasons = ?is are z foll[s4 ,=emo/ & mo/ important is t ! wri/ action :i* "o obs]ves 9 rev]s+ ! b[ f an up-/roke to a d[n-/roke1 may be utiliz$ to s]ve ! d\ble purpose ( *ang+ ! b[-/roke & leap+ to ! ,a /r+2 ?is c\ld n be accompli%$ 9 s quiet a mann] ) ! rev]se /roke4 ,if ! above phras+ 0 comm5c$ ) ! d[n /roke1 x w\ld be necess>y to make two di/9ctly sep>ate movem5ts to rea* ! ,a /r+2 "o1 a wri/ movem5t f side to side to rev]se ! /roke1 ! o!r an upw>d movem5t ( =e>m & wri/1 to obta9 ! necess>y elevation :i* w all[ ! b[ to leave ! ,d /r+ & t\* ! ,a4 ,ano!r reason is t ! ne>] ! heel ( ! b[ is approa*$1 less lev]age & consequ5tly less arm movem5t is requir$ to cross ! /r+s2 ?is is c\nt]balanc$ by ! lack ( control ov] ! b[ at ! heel 9 rapidly *ang+ f "o /r+ to ano!r4 ,! b[+ %\ld be comm5c$ slightly ne>] ! po9t ?an ! middle1 especially = ,example #dh;b1 s t ! spiccato semiquav]s may be play$ at ! middle ( ! b[1 ) a wri/ movem5t only4 ,illu/ration3 ,,ex4 #dh4 ,9 ,example #dh;a ! upp] arm %\ld move backw>ds & =w>ds 7! elb[ mu/ n project7 ! b[ be+ ?r[n on ! upp] /r+ by ! wri/ z previ\sly expla9$4 ,! /ud5t %\ld play an arpeggio phras$ z above1 at ! same "t c>efully analyz+ ea* arm & wri/ movem5t2 he w ?us realise ! importance ( utilis+ e movem5t to assi/ 9 giv+ a quiet & f9i%$ p]=mance4 ,illu/ration3 ,,ex4 #di4 ,example #di;a %\ld be play$ ) alt]nate d[n & up-/rokes1 comm5c+ ) ! d[n b[ ne> ! heel2 ! b[ %\ld be drawn say "o f\r? "p = ! two l[] notes1 !n ! h&--f ! wri/1 %\ld be rapidly rais$1 s t ! b[ leaves ! ,g /r+ & t\*es ! ,a1 us+ ano!r f\r? "p ( ! b[ = ! two upp] notes4 ,! second *ord comm5ces ) ! up-b[1 at ! middle4 ,a good1 broad effect is g5]ally int5d$ ) ?is k9d ( b[+4 ,to produce ?is1 only ! slighte/ possible gap mu/ be all[$ 9 *ang+ ! b[ f "o /r+ to ano!r1 ?us giv+ ! impression t two notes are con/antly be+ s\nd$2 suffici5t pressure mu/ be appli$ to ! b[ to cause ! :ole wid? ( ! hair to t\* ! /r+s1 & an equal division all[$ = ea* "p ( ! arpeggio4 ,x is possible to produce a v brilliant1 heavy effect ) ! b[+ at ,example #di;b2 x %\ld be comm5c$ ) ! up-b[ ne> ! heel1 us+ a v heavy spiccato /roke1 ! two upp] notes receive a d[n /roke4 ,x is also possible to execute x comm5c+ ) ! d[n-/roke1 b if play$ 9 ?is mann] x is difficult to get suffici5t p[] on ! two upp] /r+s1 z well z m "t be+ wa/$ 9 *ang+ ! b[ f ! d[n-/roke to ! up-/roke 7see explanation ( ,example #dh;a74 ,! b[+ at ,example #di;c is a /yle ( phras+ :i* "o (t5 comes across1 especially 9 brilliant solo pieces2 x is sometimes wrongly writt5 z ,example #di;d1 t is1 ) ?ree spiccato notes to ea* b[2 if execut$ 9 ?is mann] x is safe to say t ! effect w be exce$+ly tame4 ,9 solos1 conc]tos1 etc41 & = heavy passages 9 *amb] music1 x w be necess>y to give ! fir/ note ( ea* gr\p a heavy d[n-/roke 7spiccato71 ! rema9+ two notes be+ play$ ) ! up spr++-b[2 9 ?is mann] ! /rokes are all giv5 ne> ! heel ( ! b[1 ! metrical acc5t on ! fir/ note ( ea* gr\p be+ effectively produc$ ) ! heavy d[n-/roke4 ,o!r /yles ( arpeggios be> m or less simil>ity to ^? :i* h "h receiv$ treatm5t1 ) a little ?\ght ! /ud5t %\ld n[ be able to det]m9e :i* w be ! mo/ effective way ( b[+4 ,,*apt] ,,xii4 ,,graces ,,& ,,embelli%m5ts--,,! ,,use ,,( ,,! ,,?umb--,,ext5sions--,,octaves4 ,,graces ,,& ,,embelli%m5ts4 ,!re are v>i\s embelli%m5ts 9 use1 "s ( :i* are express$ 9 notation1 su* z ! cad5za1 ! gr\p ( grace notes1 ! appogiatura4 ,o!rs are express$ by signs4 ,! mo/ important ( ^! are ! trill1 or %ake 7tr71 ! pralltrill]1 or %ort %ake 7symbol71 & ! mord5t1 or turn 7symbol or symbol accord+ to ! v>iety74 ,besides ! above1 & n includ$ 9 ^! two divisions1 are num]\s graces1 or ornam5ts1 :i* p]haps come "u ! head ( effects1 & bo? 9 _! introduction & _! mann] ( execution1 are left entirely to ! play]4 ,"u ?is head may be m5tion$ ! close %ake1 or vibrato1 & ! vocal effect produc$ by *ang+ ! f+]s on a /opp$ note1 or play+ two notes ( ! same pit* 9 diff]5t regi/]s ( ! in/rum5t4 ,consid]+ ! l>gely increas+ quantity ( lit]ature :i* deals ) ! elem5ts ( music1 :]e9 mo/ ( ! above graces are treat$1 x w be useless to aga9 g ?r\gh an explanation ( !m4 ,x w be necess>y1 h[ev]1 to deal ) "o or two matt]s relative to _! execution on ! violoncello4 ,x us$ to be cu/om>y = s+]s & in/rum5tali/s to take m lib]ty 9 ! introduction ( graces & embelli%m5ts ?an is all[$ 9 mod]n times1 or is possible ) mod]n compositions4 ,! e>ly ,italian vocal s*ool mu/ be held responsible = _m e>ly extravagances 9 ?is direction4 ,! repres5tatives ( ?is s*ool1 fitt$ z !y 7 by nature1 climate1 language & tra9+1 = brilliant vocalisation1 nev] lo/ an opportunity ( display+ _! wond]ful feats ( execution2 9 ! op]a ev5 ! simple/ melody be+ ov]load$ ) trills1 turns1 grace notes & especially by ! introduction ( long bravura passages1 9 ! %ape ( v>iations on ! melody1 or z cad5zas4 ,an amus+ in/ance ( ?is 0 ! competition betwe5 ,f>9elli1 ! celebrat$ s+] & a trumpet] 7,rome1 #agbc71 :i* took place be=e a l>ge & en?usia/ic cr[d4 ,i suppose ea* ( ^! arti/s tri$ to out%9e ! o!r 9 ! brilliance ( _! improvis$ cad5zas & coloratura passages4 ,) ! exception ( add$ cad5zas 9 "s conc]tos1 x is n n[ consid]$ good ta/e to embelli% a composition--ev5 ! simple/ melody1 by ! addition ( any?+ to ! writt5 notes4 ,! mod]n arti/1 especially ! in/rum5tali/1 mu/ cont5t himself ) 8 individual treatm5t ( :at is be=e him1 dep5d+ solely on ?is1 & ! beauty ( ! composition = 8 effect4 ,,! ,,trill4 ,to acquire a good trill on ! violoncello1 ! /ud5t %\ld practice trill+ ) ea* f+]1 comm5c+ v sl[ly at fir/1 !n gradually increas+ ! spe$4 ,ea* f+] %\ld be p]fect$ sep>ately1 ! f\r? be+ g5]ally ! weake/1 w require m att5tion4 ,! foll[+ ex]cise 7,ex4 #ej7 if prop]ly practis$1 %\ld be ! means ( p]fect+ ! /ud5t 9 ?is ess5tial & pleas+ ornam5t4 ,illu/ration3 ,,ex4 #ej4 ,to /udy ?is ex]cise prop]ly a week %\ld be devot$ to ea* figure1 t is to say1 "o figure mu/ be fairly well p]fect$ be=e ! next is attempt$2 ! /ud5t %\ld devote sev]al m9utes at v>i\s times ( ! day to its practice4 ,?is sy/em ( divid+ ! "t devot$ to ! practice ( a me*anical /udy l ! p]fection ( ! trill1 w prev5t ! muscles be+ ov] ex]t$4 ,9 sl[ movem5ts1 especially on a long su/a9$ note1 a good effect may be produc$ by comm5c+ ! trill sl[ly1 !n gradually increas+ ! rapidity ( ! beats4 ,9 quick movem5ts ! trill %\ld be g5]ally comm5c$ & cont9u$ quickly4 ,! *ief beauty 9 ! introduction ( ! pralltrill] & ! v>i\s turns1 consi/s 9 ?r[+ !m into ! melody )\t di/urb+ ! "t or phras+2 to acquire ?is ability1 ! /ud5t may fir/ play ! passage )\t introduc+ ! turns1 etc41 !n :5 ! /ructure ( ! phrase is cle>ly grasp$1 ! embelli%m5ts %\ld be add$4 ,z a good conc]t composition :i* may be ( use bo? 9 acquir+ a neat me?od ( introduc+ ! turn1 or ( display+ su* accompli%m5t1 may be m5tion$ ! ,arlequ9 by ,popp]4 ,x is v pleas+ & fits ! in/rum5t4 ,,! ,,vibrato4 ,! vibrato or close %ake is produc$ by %ak+ ! left h& f side to side1 ! f+] tip--:i* /ops ! note on :i* ! vibrato is produc$1--=m+ ! pivot4 ,! s(t fle%y cu%ion :i* =ms ! tip ( ! f+]1 seems to grip ! /r+1 & %\ld n on any acc\nt be all[$ to slide out ( tune2 ?us ! effect mu/ nev] be s exagg]at$ z to all[ ! beats to be v>i$ 9 pit*1 ! result %\ld m]ely be a k9d ( ?robb+4 ,a good effect is produc$ 9 a so/5uto !me by comm5c+ ! vibrato sl[ly on a cresc5do note4 ,z ! cresc5do ga!rs 9 =ce1 ! ?robb+ ( ! vibrato is increas$ 9 rapidity2 mu* practice is necess>y to accompli% ! gradual increas+ or dim9i%+ ( ! spe$1 )\t any break be+ obs]vable 9 ei!r ! increas+ ( ! tone1 or ! vibrato beats4 ,! natural law ) respect to ! v>iety 9 vibrato effects may be giv5 z foll[s4 ,a note l[ 9 pit*1 or a note play$ piano1 requires a sl[ vibrato1 a high] note1 or a note play$ =te & passionately1 requires a rapid vibrato4 ,! /ud5t mu/ be caution$ n to introduce ! sl[ vibrato too freely1 al?\gh he may see _m play]s con/antly wag ! h& 9 su/a9$ or passionate passages1 ?is is n always done to produce a vibrato effect1 b is (t5 int5d$ to give a ?rill+ tone by a cle>ly def9$ /opp+ ( ! note4 ,,! ,,cad5za4 ,! cad5za may be said to range f ! gr\p ( notes tak5 ad lib41 to ! brilliant virtuosic cad5za introduc$1 or add$ to conc]to compositions4 ,! fir/ =m is g5]ally us$ z a connect+ l9k betwe5 "o section ( a composition & ano!r1 & al?\gh ! "t is m>k$ ad lib41 ! /ud5t %\ld always /rive to correctly phrase ^! little solo passages 9 accordance ) ! "* ( ! movem5t or composition1 s t ! desir$ effect may be giv54 ,! latt] & big =m ( cad5za1 is g5]ally giv5 to all[ ! p]=m] an opportunity to %[ 8 skill1 al?\gh ,s*umann did n fav\r ?is idea2 ! cad5za to 8 'cello conc]to be+ m]ely a few b>s ( recitative lead+ into ! brilliant coda 7f9ale71 9 o!r compositions he adh]$ to ! same idea1 ! cad5za be+ ?or\ghly & :olly ,s*umann1 )\t any attempt to s]ve z a means ( display4 ,9 compositions :]e ! cad5za is n writt5 out1 ! play] is expect$ to supply "o2 ?is %\ld be con/ruct$ f motives tak5 f ! "w1 ! skill ( ! play] be+ %[n 9 ! mann] 9 :i* ^! motives are treat$4 ,z ! composition ( a cad5za w necess>ily be ( a free "*1 ! introduction ( brilliant arpeggios1 d\ble-/ops & rapid scale passages all skilfully wov5 ar\nd & connect+ ! motives introduc$1 may be tak5 z ! basis on :i* to "w4 ,,grace ,,notes4 ,grace notes express$ 9 gr\ps ( small notes are n ess5tial 9 any great degree to ! musical /ructure ( a composition1 !y are suppos$ to add to its effectiv5ess2 ! success ( _! introduction & _! *ief *>m1 consi/s 9 ?r[+ !m into ! melody ) ease4 ,sometimes a rit>d is made1 especially 9 song-l compositions1 s t ! grace notes may be play$ q delib]ately2 9 o!r pieces :]e /rict "t is ess5tial1 ! "t mu/ be /ol5 f ! note :i* prec$es or foll[s4 ,x may be accept$ z a g5]al rule t ! grace notes %\ld n delay ! enunciation ( a heavily acc5t$ note1 s t ! rhy?m may rema9 undi/urb$4 ,,pizzicato4 ,notes are play$ pizzicato by pull+ ! /r+s ) ! f+]s1 in/ead ( caus+ _! vibration ) ! b[2 ! play] %\ld grasp ! b[ firmly at ! nut ) ! little f+]1 & p]haps ! ?ird f+]1 accord+ to ! requirem5ts ( ! pizzicato passage4 ,9 scale passages x is wise to use ! fir/ & second f+]s alt]nately = ! purpose ( pluck+ ! /r+s1 ! ?umb re/+ on ! edge ( ! f+]bo>d z a support = ! h&4 ,= arpeggios & *ords1 ! ?umb may be us$ = ! l[] /r+1 & ! f+]s = ! upp] /r+s4 ,*ords 9 rapid succession are be/ play$ by /rik+ across all ! f\r /r+s ) ! ?umb & fir/ f+] alt]nately2 :5 ! ?umb is us$1 ! l[] /r+s receive ! fir/ vibration1 ! high] /r+s be+ /ruck fir/ :5 us+ ! fir/ f+]2 ! *ords %\ld be /ruck s sm>tly t ! f\r /r+s seem to vibrate simultane\sly4 ,! advantages ( ?is me?od is t ) ea* motion ( ! h& a *ord is s\nd$1 ?us1 :5 us+ ! ?umb1 ! h& moves f "r to left1 return+ f left to "r :5 us+ ! fir/ f+]4 ,9 all pizzicato passages ! /r+s %\ld be pluck$ 9 su* a mann] t !y oscillate f side to side dur+ _! vibration2 if !y are all[$ to snap aga9/ ! f+]bo>d1 ! s\nd w be in/antly *eck$4 ,! /ud5t %\ld rememb] t ta/e may be br\ght into play 9 ! me?od ( execut+ pizzicato passages4 ,x is n necess>y to play all ! notes ) "o volume ( s\nd2 a cresc5do on a s]ies ( notes c be produc$ q z effectively z ) ! b[4 ,9 *amb] music !re is (t5 a bett] opportunity = ! display ( ta/e 9 ! execution ( pizzicato passages ?an 9 solo compositions2 pizzicato passages 9 ! latt] be+ g5]ally introduc$ = display r ?an accompanim5t4 ,,! ,,use ,,( ,,! ,,?umb4 ,a k ( ! correct use ( ! ?umb = ! purpose ( /opp+ notes on ! violoncello1 is ( ! utmo/ importance to any :o wi% to h any?+ l comm& ( ! in/rum5t4 ,x is q c]ta9 t ! 'cello w\ld n be any?+ l ! p]fect in/rum5t x is1 if ! play] 0 conf9$ to ! neck positions4 ,z already expla9$1 ! neck positions only ext5d to a c\ple ( notes beyond ! half-/r+4 ,:5 x is necess>y to g beyond ?is1 ! ?umb is tak5 f its position beh9d ! neck ( ! in/rum5t1 & firmly plac$ 9 a horizontal position across two /r+s1 ?us /opp+ a p]fect fif?4 ,! /ud5t %\ld att5d v c>efully to ! h9ts "h giv5 respect+ ! "p ( ! ?umb :i* actually /ops ! /r+s4 ,! fir/ jo9t ( ! ?umb %\ld be slightly b5t outw>ds1 ! high] /r+ %\ld pass across ! side ( ! ?umb j "u ! root ( ! nail1 ! /r+s be+ ab\t half-an-in* ap>t1 ! l[] /r+ w be t di/ance ne>] ! tip ( ! ?umb4 ,on no acc\nt mu/ ! ?umb be s plac$ t ! high] /r+ int]f]es 9 ! slighte/ ) ! jo9t ( ! ?umb3 ?is w\ld make x impossible to quickly slide along ! /r+s )\t di/urb+ ! relative positions ( ! two /r+s4 ,cont9u$ practice ) ! ?umb w =m two grooves on ! "u side ( ! ?umb1 exactly ! wid? ( ! /r+s ap>t2 :5 ?is comes ab\t1 no inconv5i5ce w be exp]i5c$ ei!r 9 rapidly slid+ along ! /r+s1 or 9 putt+ on suffici5t pressure4 ,a common exp]i5ce ) /ud5ts fir/ le>n+ ?umb positions1 is ! feel+ t ! f+]s are too long4 ,to rem$y ?is & also to ga9 suffici5t weight on ! f+]s1 "s "y play]s w all[ ! knuckles to protrude & ! f+] jo9ts to b5d inw>ds4 ,i h notic$ ?is "t aft] "t 9 pupils1 ev5 :5 !y h ov]come ! same difficulty 9 ! neck positions4 ,9 a %ort "t ! h& w get accu/om$ to ! *ange ( po/ure1 9 ! meantime ! knuckles mu/ be kept q flat1 & ! f+] jo9ts b5t outw>ds4 ,:5 ! muscles1 :i* h hi!rto rema9$ idle1 are fully develop$1 ! play] w be able to put suffici5t pressure on ! /r+s )\t any assi/ance f ! weight ( ! h&4 ,) respect to ! introduction ( ! ?umb2 x is n always necess>y 9 ! high positions to use ! ?umb to actually /op c]ta9 notes1 occasionally c]ta9 scale passages occur :i* may be f+]$ z ! ord9>y scales--t is1 ) ! ?umb foll[+ beh9d at ! di/ance ( a tone4 ,h[ev]1 ! mo/ important reason = reject+ ! ?umb = speak+ notes & f+]+ ! passage1 is t ( phras+4 ,9 expressive movem5ts1 exactly z "o f9ds x necess>y 9 ! l[] range ( ! in/rum5t to leave out ! use ( ! op5 /r+s1 or play 9 a high] position ?an necess>y1 s 9 ! high ?umb positions ! same unity ( feel+ mu/ be obs]v$ by a nicely arrang$ sy/em ( f+]+4 ,! reason = an objection aga9/ ! indiscrim9ate use ( ! ?umb 9 sl[ cantabile passages1 is t ! tone produc$ :5 ! note is /opp$ by ! pressure ( ! ?umb1 is n ( ! same "* z t produc$ :5 ! tips ( ! f+]s are us$4 ,p]haps x takes a v f9e e> to di/+ui% ?is diff]5ce4 ,9 quick movem5ts x is n disc]nible1 b on a su/a9$ note ! tone produc$ by ! ?umb is to a great ext5t col\rless4 ,t !re %\ld be a diff]5ce 9 tone is h>dly to be wond]$ at1 :5 "o consid]s ! acute s5sibility ( t\* at ! f+] tips4 ,x is possible t ! necess>y v>ieties ( pressure1 or m accurately1 t\*1 :i* are requisite to a s\lful p]=mance1 may be m readily accompli%$ ) ! tips ( ! f+]s1 ow+ to a great] conc5tration ( n]ve matt] !re ?an at ! side ( ! ?umb1 b ?is we mu/ leave to physiologi/s2 ^? ^: e> is s delicately =m$ t !y notice ^! slight v>ieties 9 tone col\r1 w p]haps be ?ankful = ! h9t :]eby a s\lful mann] ( f+]+ & phras+ 9 ! high positions may be acquir$4 ,! fe> ( be+ ?\ght dogmatical 9 ?is "w1 prev5ts me giv+ examples ( ?is me?od ( f+]+ 9 ! ?umb positions1 z1 ( c\rse1 ea* play] w naturally adopt ! sy/em :i* suits 8 /yle ! be/1 b to ! /ud5t ,i w\ld advise t ! passages are phras$ exactly z "o w\ld s+ !m1 entirely irrespective ( /r+s or positions2 us+ ! f+] tips 9 pref]5ce to ! ?umb = ! speak+ notes :]ev] possible4 ,9 quick movem5ts ! use ( ! ?umb is indisp5sable4 ,9 _m cases "o is compell$ to use x ev5 9 ! l[] neck positions s t c]ta9 passages may be possible4 ,,ext5sions4 ,! use ( ext5sions1 t is1 ! f+]+ ( c]ta9 notes :i* are =eign to ! position 9 :i* ! h& is plac$1 is ( m frequ5t occurr5ce 9 ! ?umb positions ?an 9 ! l[] range ( ! in/rum5t4 ,to a great ext5t ^! h to be /udi$ z special passages4 ,h[ev]1 ea* passage ( ?is description ?or\ghly ma/]$1 w make simil> passages easi] & assi/ 9 giv+ a great] comm& ov] ! f+]bo>d4 ,to acquire a g5]al k ( ^! ext5sions1 ! /ud5t may practise a s]ies ( runn+ arpeggios 9 ! v>i\s keys1 simil> to ^? giv5 by ,c[>d ,klee 9 8 arrangem5t ( scales = 'cello4 ,! /ud5t may play !m 9 ?ree or f\r octaves accord+ to ! possibilities ( ! in/rum5t4 ,,octaves4 ,octave passages are usually play$ across two /r+s1 ) ! ?umb & ?ird f+]1 ! ?umb /opp+ ! l[] note on ! l[] /r+1 & ! ?ird f+] /opp+ its octave on ! high] /r+4 ,! mo/ difficult progressions 9 octaves are ^? :i* are play$ 9 unison1 t is1 ! high] & l[] notes be+ s\nd$ simultane\sly--! slighte/ faults 9 intonation are "h mo/ pa9fully evid5t4 ,:]e ! octaves are s\nd$ sep>ately1 "o "p mov+ indep5d5tly to ! o!r1 ! difficulty ( intonation is no?+ ne> s great4 ,occasionally "o comes across octave passages :i* are ei!r impossible to be play$ 9 ! usual mann] ( ?umb & ?ird f+]--or else s\nd bett] to be play$ ) diff]5t f+]+4 ,an example ( ! =m] is met ) 9 ,popp]'s well-kn[n ,elf5tanz4 ,?is is an extremely brilliant desc5d+ passage 9 octaves1 ) ! n9? us$ z a pass+ note4 ,"h ! octaves are play$ ) ?umb & second f+]1 ?us leav+ ! ?ird f+] free = ! add$ n9?4 ,an example ( ! latt] exception is ! f9al octave passage 9 ! ,rondo ( ! fav\rite ,bee?ov5 ,sonata = 'cello 7,no4 #b74 ,?is passage1 :i* rema9s 9 ! l[] range ( ! in/rum5t1 s\nds mu* m brilliant if tak5 z an ord9>y passage across ! /r+s1 ?an if attempt$ ) ! usual octave f+]+4 ,,*apt] ,,xiii4 ,,! ,,sci5tific ,,basis ,,( ,,h>monics--,,"s ,,peculi> ,,laws ,,:i* ,,gov]n ,a ,,vibrat+ ,,/r+--,,natural ,,& ,,artificial ,,h>monics--,,! ,,mann] ,,( ,,b[+ ,,h>monics4 ,,h>monics4 ,9 consid]+ h>monics1 ! names ( two ( ! greate/ viol9 play]s ! _w has ev] se5 =ce !mselves to "o's m9d3--,pagan9i & ,spohr2 ! expon5ts ( two s*ools ( viol9 play+ z diametrically oppos$ to ea* o!r z d>kness is to light4 ,pagan9i ! weird1 fi]y ,italian1 a/oni%+ ! _w ) hi!rto undreamt ( effects1 n ! lea/ m>vell\s 9 ! eyes ( critics & multitude alike1 be+ 8 wond]ful comm& ov] e possible =m ( h>monic play+4 ,spohr ) 8 solid1 classical1 ,g]man temp]am5t1 attempt+ no?+ out ( ! e/abli%$ limits ( real1 solid play+1 c\nt5anc+ no?+ :i* ! great 9 music be=e him _h n accept$ & /amp$ ) _! hall-m>k4 ,consid]+ ?is1 & also t ,spohr may h be5 annoy$ at ! allegiance :i* ne>ly ! :ole music-lov+ public 7 only too eag] to pay to ! ,italian viol9i/1 x is n to be wond]$ at t he %\ld f9d x necess>y to d5\nce ! :ole art ( h>monic play+ z trick play+ & unwor?y ( a great arti/4 ,"o c h>dly =give ,spohr's description ( h>monic tones z =eign & *ildi%2 !y c]ta9ly are entirely diff]5t to ! tone produc$ by /opp$ notes1 b ?is v diff]5ce1 in/ead ( condemn+ !m1 %\ld r recomm5d !m to ! in/rum5tali/ z ano!r means ( add+ v>iety1 t ess5ce ( life1 to 8 play+4 ,x is really surpris+ :at an electrical effect on an audi5ce has a well execut$ passage 9 h>monics2 h>monics excite wond]6 true1 b if well play$ !y also excite en?usiasm4 ,spohr is to be prais$ = 8 recomm5dations to "y viol9i/s n to neglect t :i* is useful1 9 ! prosecution ( ! /udy ( h>monics2 "y violoncelli/s please att5d to ! advice6 yet e play] %\ld be ?or\ghly conv]sant ) ! sci5ce ( h>monics ev5 if he has to def] p]fection 9 ! art ( _! production until a lat] p]iod4 ,h>monics are describ$ z ! accessory s\nds g5]at$ ) ! pr$om9ant & app>5tly simple tones ( any vibrat+ /r+ or column ( air4 ,sci5ce tea*es u t a s+le note is impossible2 imm$iately a note is s\nd$1 c]ta9 tones m or less relat$ to ! fundam5tal note1 are g5]at$4 ,^! ov]tones may be di/9ctly he>d if "o ( ! op5 /r+s ( a good old violoncello is vigor\sly s\nd$2 z ! fundam5tal note decreases 9 p[]1 ! h>monic ov]-tones w be easily he>d 9 _! ord] ( production--fir/ ! octave1 !n ! fif? to ! octave1 !n ! major ?ird to ! octave above4 ,ano!r me?od ( he>+ ^! h>monics is by caus+ a note 9 unison ) "o ( ! op5 /r+s ( ! violoncello to be sung1 or play$ ^u "s o!r in/rum5t1 ! /r+ 9 unison ) ! note s\nd$1 ?r\gh sympa!tic vibration w give out ! ov]tones only1 z previ\sly describ$4 ,h[ev] x is n ^! fleet+ ov]tones :i* dem& our att5tion1 al?\gh !y =m ! natural basis to ! :ole matt]1 x is ! production ( h>monic tones 9 ! =m ( indep5d5t or prim>y notes4 ,to accompli% ?is on ! violoncello ! /r+ mu/ be t\*$ lightly ) ! f+] at c]ta9 places1 n z = ! production ( a /opp$ note1 by press+ ! /r+ firmly aga9/ ! f+]bo>d1 b by all[+ "o f+] to lightly re/ ^u x ) suffici5t t\* to div]t ! vibrations4 ,x w be f\nd t only at c]ta9 places are h>monic notes possible4 ,^! places are call$ nodes or nodal po9ts2 !y are to be f\nd at ! ma!matical divisions ( ! /r+s into halves1 ?irds1 qu>t]s1 etc4 ,! class ( h>monics produc$ 9 ?is mann] are t]m$ ,natural ,h>monics4 ,z ea* /r+ gives out ! same notes relative to ! pit* ( ! op5 /r+1 "o description w suffice4 ,if a /r+ is lightly t\*$ at its half l5g? dur+ vibration1 ! octave to ! op5 /r+ w be produc$2 at "o-?ird or two-?irds its l5g?1 measur+ ei!r f ! bridge to ! nut or vice v]s1 ! fif? above ! octave2 at "o-f\r? or ?ree-f\r?s ! d\ble octave2 at "o-fif?1 two-fif?s1 ?ree-fif?s & f\r-fif?s ! major ?ird above ! second octave2 at "o-six? & five-six?s ! fif? above ! second octave1 & at "o-eigh?1 ?ree-eigh?s1 five-eigh?s & sev5-eigh?s a h>monic note ?ree octaves above ! op5 /r+ w be produc$4 ,! diff]5ce betwe5 ! vibration ( a musical /r+ dur+ ! production ( a /opp$ note1 & a h>monic note is ( suffici5t int]e/1 & ( en\gh importance to m]it description4 ,mo/ ( my read]s w be aw>e t :5 ! /r+ is press$ firmly aga9/ ! f+]bo>d = a /opp$ note1 ! portion betwe5 ! f+] & ! nut does n vibrate1 ! /r+ is practically %ort5$ to ! dim5sions ( t portion :i* lies betwe5 ! f+] & ! bridge2 :5 a h>monic note is play$ h[ev]1 ! f+] be+ lightly plac$ on ! /r+ m]ely div]ts ! vibration2 ! :ole l5g? ( ! /r+ vibrates1 ! "p betwe5 ! f+] & ! nut assi/+ z actively 9 produc+ ! note z ! "p betwe5 ! f+] & bridge4 ,! foll[+ r\gh sket* w illu/rate ?is m cle>ly ?an is possible 9 words alone2 ,fig4 #e repres5ts a vibrat+ /r+2 7a7 is ! nut1 7c7 ! bridge1 ! /r+ be+ /opp$ at its half l5g? 7b71 ! only portion :i* vibrates is t betwe5 7b7 & 7c74 ,fig4 #f repres5ts a h>monic note produc$ at ! half /r+ 7b7 9 ?is case ! :ole /r+ vibrates yet ! /r+ is divid$ into two equal p>ts1 ! "p betwe5 7a7 & 7b7 vibrat+ 9 unison ) t betwe5 7b7 & 7c74 ,! /ud5t w "h see ! importance ( keep+ all ! f+]s q cle> ( ! /r+ except ( c\rse ! "o produc+ ! note1 s t ! vibrations may n be imp$$4 ,s f> ?is seems q logical1 x is 9 proce$+ fur!r t "o realizes ! wond]ful laws :i* gov]n ! production ( h>monics4 ,fig4 #g repres5ts ! /r+ t\*$ lightly at its f\r? "p 7d7 or 7e7 giv+ ! h>monic note two octaves above ! op5 /r+2 ! /ud5t w obs]ve t x is q immat]ial :e!r ! f\r? be calculat$ f ! bridge or f ! nut2 ! vibrations 9 ea* case w be ?us3--,if ! /r+ is t\*$ at 7d7 ! portion betwe5 7d7 & 7c71 t is betwe5 ! f+] & ! bridge1 w naturally divide itself into ?ree equal p>ts1 ea* "p vibrat+ 9 unison ) ! "p betwe5 7a7 & 7d72 aga91 if ! f+] is plac$ at 7e7 ! "p beh9d ! f+]1 t is1 ! portion ( ! /r+ betwe5 7e7 & 7a7 w divide itself into equal p>ts 9 l mann]4 ,"o ( ! f\r? p>ts is to be f\nd at 7b72 h[ is x !n t if ! /r+ is t\*$ !re a h>monic note ( l[] pit* ?an ^? giv5 out at ! fir/ & ?ird f\r?s is produc$8 ,! reason is t ! portion ( /r+ at ea* side ( 7b7 be+ ( equal l5g?1 ! /r+ naturally divides itself into halves2 we h f\nd t ?is gives ! octave to ! op5 /r+4 ,! /ud5t may "w out = himself ! reason :y ! fif? above ! second octave is only playable at ! "o-six? & five-six? p>ts & n at ! two-six?1 ?ree-six? & f\r-six?1 & :y ! ?ird octave is n possible at ! two-eigh?1 f\r-eigh?1 & six-eigh? p>ts4 ,illu/ration3 ,fig #e ,illu/ration3 ,fig #f ,illu/ration3 ,fig #g ,,artificial ,,h>monics4 ,! "n artificial is us$ m]ely 9 contra/ to natural1 !y are only artificial 9 ! s5se t !y are produc$ on an artificial or made basis1 in/ead ( be+ 9 ! key ( ! op5 /r+4 ,if "o 0 re/rict$ to ! use ( natural h>monics x w\ld be impossible to play scale passages1 or any passages =eign to ! key ( ! f\r op5 /r+s4 ,h[ev] by caus+ ! /r+ to be %ort5$ by ! employm5t ( a /opp$ note ! pit* ( ! fundam5tal note may be rais$ to any desir$ height1 ! h>monics be+ produc$ exactly z be=e1 on ! fre% root ?us =m$2 ! h>monic be+ 9 ! key ( ! %ort5$ /r+4 ,9 play+ artificial h>monics on ! violoncello x is usual to employ ! ?umb = ! /opp$ note1 ! ?ird f+] %\ld !n be caus$ to t\* ! /r+ lightly at "o ( its nodal po9ts1 ! di/ances ( c\rse be+ n[ calculat$ f ! ?umb to ! bridge4 ,ow+ to ! sometimes great l5g? ( /r+ betwe5 ! /opp$ note & ! bridge x is (t5 f\nd impossible to use any b ! small] divisions1 ! =m mo/ (t5 met ) be+ h>monics produc$ by f\r?s1 t is1 ! ?ird f+] t\*+ ! /r+ at ! int]val ( "o f\r? 7/opp$ note7 above ! ?umb3 ! h>monic ?us produc$ w be two octaves above ! pit* ( ! note /opp$ by ! ?umb4 ,:ole passages are writt5 = ?is =m ( artificial h>monics4 ,to ! /ud5t :o has ?or\ghly ma/]$ octave passages 9 /opp$ notes ! te*nical difficulties pres5t$ ought to be easily conqu]$1 z ! same te*nique really suffices = bo?2 ! only diff]5ce be+ t :il/ octaves are play$ across two /r+s--artificial h>monics by f\r?s are play$ ) ! same f+]+ & ! same int]vals on "o /r+4 ,) respect to ! b[+ ( h>monics1 ! peculi> mann] 9 :i* ! /r+ vibrates dur+ ! production ( h>monic notes mu/ be tak5 into consid]ation4 ,x is important to notice t ! vibration ( ! /r+ ne> ! nodal po9ts is ! lea/ int5se 7see d\ble l9es 9 diagram71 :]eas ! "p mid-way betwe5 ! nodes vibrates ) ! greate/ int5sity2 if ! b[ is caus$ to pass ne> "o ( ^! nodes x may possibly give a great] vibration to t portion ( ! /r+ ?an is requir$1 :i* w\ld h ! effect ( displac+ ! natural division1 & plac+ ( ! nodes1 ?us caus+ confusion or p]haps ano!r h>monic ?an ! "o int5d$ to be produc$4 ,x is g5]al to give an all r\nd rule t 9 play+ h>monics ! b[ mu/ always be drawn close to ! bridge1 ! /ud5t w compreh5d t ! small] ! division ( ! /r+ us$ to produce ! h>monic1 ! great] ne$ w !re be to att5d to ?is rule4 ,! progression ( h>monic notes %\ld be cle>ly def9$2 9 passages compos$ :olly ( h>monics x may sometimes be f\nd advisable to use a d[n b[-/roke = ea* note1 slightly /rik+ ! comm5cem5t ( ea* h>monic2 ?is w give ! necess>y attack1 & w cause ea* note to r+ out cle> z a bell1 provid+ ! f+]+ is correctly manag$4 ,h>monics are indicat$ 9 v>i\s ways1 sometimes caus+ mu* confusion & indecision z to :at is really requir$2 ?us 9 a s+le composition x is possible to f9d ! real notes :i* are to be produc$ be+ giv5 ) ! ^w h>monique or flageolet or sometimes ! sign ,o 7usually employ$ = natural h>monics7 add$1 ! play] to produce ! h>monics z he pleases2 aga9 ! position ( ! node :i* produces ! h>monic w be indicat$ by a blank note1 ! pit* ( ! h>monic to be produc$ be+ left to fate & ! p]=m]4 ,to indicate artificial h>monics x is usual to write ! /opp$ notes z an ord9>y passage1 !n ) ! aid ( blank notes ! positions :]e ! /r+ has to be lightly t\*$ are %[n4 ,,*apt] ,,xiv4 ,,special ,,effects--,,trick ,,/accato--,,v>i\s ,,me?ods ,,( ,,produc+ ,,*romatic ,,scale ,,passages--,,sul ,,ponticello ,,b[+ ,,& ,,b[$ ,,h>monics--,,flaut&o--,,pizzicato ,,glide ,,& ,,grace ,,notes6 ,,special ,,effects4 ,!re are v>i\s effects possible on ! violoncello1 :i* "o (t5 f9ds introduc$ 9 mod]n solo compositions1 b on :i* mo/ works on ! art ( violoncello play+ are /rangely retic5t4 ,"s ( ^! effects may p]haps come "u ! head ( trick play+1 b z !y are to be f\nd 9 ! works ( su* ma/]s z ,s]vais1 ,david(f1 ,popp]1 etc41 x w be advisable to devote a little "t to _! consid]ation4 ,s]vais--:o is cr$it$ ) do+ m by 8 compositions & play+ t[>ds giv+ ! violoncello a firm /&+ z a solo in/rum5t ?an any previ\s writ]1 & p]haps any subsequ5t play]-writ] ) ! exception ( ,popp]--makes free use ( mo/ ( ! effects "h treat$4 ,! mo/ common effect1 g5]ally kn[n z trick /accato1 may be expla9$ z foll[s3 ,illu/ration3 ,,ex4 #ea4 ,! left h& takes no "p 9 ! division ( ! notes1 ! ?ird f+] m]ely glid+ f ! highe/ note ( ! passage1 d[n to ! op5 ,a /r+2 ! f+] %\ld press uni=mly on ! /r+1 ! division ( ! notes be+ accompli%$ by a n]v\s tremolo movem5t ( ! =e-arm :i* causes ! b[ to proce$ 9 a s]ies ( rapid j]ks4 ,! "r h& wri/ rema9s fix$1 ! pressure on ! b[ be+ almo/ uni=m4 ,! above k9d ( /accato mu/ n be conf\nd$ ) solid /accato4 ,x is possible to atta9 a v high rate ( spe$ 9 a passage z ,ex4 #ea if execut$ z expla9$1 b ap>t f ?is1 ! effect is entirely diff]5t ?an if p]=m$ ) solid /accato1 ev5 if x 7 possible to play ! passage z rapidly ) ! latt] =m ( b[+4 ,ano!r k9d ( *romatic passage produc$ :olly by a b[ movem5t may be f\nd 9 ,david(f's ,am ,spr+brunn5 & ,popp]'s ,elf5tanz4 ,! foll[+ 7,ex4 #eb7 is tak5 f ! latt] "w4 ,illu/ration3 ,,ex4 #eb4 ,! f+] %\ld glide along ! /r+ z previ\sly expla9$1 ! division ( ! notes 9 ?is in/ance be+ accompli%$ by a rapid spiccato movem5t ( ! b[1 produc+ a s]ies ( %ort deta*$ /rokes4 ,9 a passage ( ?is "* x is impossible = ei!r play] or li/5] to disc]n :e!r ! exact *romatic scale is actually play$2 ! only me?od to approa* any:]e ne> a fai?ful int]pretation ( ! passage1 is by a correct division ( ! b[ /rokes 9 gr\ps ( f\rs1 at ! same "t c>efully regulat+ ! spe$ ( ! glid+ f+]4 ,x w be evid5t t ! glid+ mu/ be m rapid :5 ! l[] positions ( ! in/rum5t are rea*$ ?an 9 ! high positions2 ?us 9 comm5c+ ! above passage 7,ex4 #eb71 ! notes be+ ne>] toge!r 9 ! high] positions ?an 9 ! l[]1 ! h& %\ld move correspond+ly sl[]2 ! movem5t becom+ m rapid z ! passage proce$s4 ,a ?ird me?od ( produc+ a *romatic passage--?is "t1 h[ev]1 ) ! left h&1 )\t any assi/ance f ! b[ = ! division ( ! notes--seems to be a speciality ( ,s]vais4 ,x is introduc$ bo? 9 sl[ portam5to effects & rapid *romatic passages4 ,illu/ration3 ,,ex4 #ec4 ,! b[ %\ld be drawn z = a long su/a9$ note1 ! division ( ! notes be+ caus$ by a s]ies ( rapid j]ks p]=m$ by ! left h&4 ,! f+] %\ld su/a9 ! pressure on ! /r+ dur+ ! :ole passage1 ! movem5t is simil> to t expla9$ z ! me?od ( produc+ ! vibrato1 ) ! addition ( ! =w>d or backw>d progression ( ! h& accord+ to ! requirem5ts ( ! passage4 ,! passage may be play$ ) any f+]1 b x is advisable to use ! f\r? f+] = a desc5d+ passage 7see ,ex4 #ec7 & ! fir/ or second f+] = an asc5d+ *romatic run4 ,x is also "h impossible to attempt to play ! real notes except 9 v sl[ passages2 to execute a rapid *romatic z above1 ! play] %\ld m]ely grasp ! "t ( ! semiquav]s1 & regulate ! di/ances = ea* movem5t previ\sly z expla9$4 ,! same effects z above examples are also possible 9 octaves1 !y are produc$ 9 a simil> mann]4 ,,sul ,,ponticello4 ,a /yle ( b[+ :i* seems to be ei!r v little und]/ood1 or v mu* neglect$1 is sul ponticello b[+4 ,9 /r+ qu>tets1 or*e/ral music1 etc41 a v f9e effect is possible if all ! play]s execute x 9 a prop] mann]4 ,! b[ %\ld be drawn q close to ! bridge1 ) only m$ium pressure appli$1 ! /roke %\ld be p]=m$ m rapidly ?an ord9>y b[+4 ,?is b[+ execut$ by a numb] ( /r+s gives a v weird effect1 ! only objection to its use be+ t if great skill is n us$1 ! /r+1 in/ead ( vibrat+ z a :ole1 w vibrate 9 segm5ts1 ?us giv+ out "o or o!r ( ! natural h>monics4 ,x is /at$ t ,pagan9i us$ to play c]ta9 passages 9 h>monics aft] ! above mann]2 h>monic tones may be produc$ on any /opp$ note1 by ! b[ alone1 z foll[s4 ,! b[ %\ld be drawn v lightly across ! /r+s ne> ! bridge1 ! left h& f+]s firmly /opp+ ! notes2 v>i\s h>monics may be produc$ ) "o f+]+ by slightly v>y+ ! position ( ! b[1 mov+ x slightly ne>] or away f ! bridge4 ,except = special passages1 :i* are really int5d$ = ?is k9d ( ponticello h>monic play+1 x is n advisable to introduce x2 ! slighte/ irregul>ity 9 ! position ( ! b[ on ! /r+ w alt] ! h>monic notes to a great ext5t4 ,,flaut&o4 ,( m real use ?an ! prec$+1 is ! b[+ sometimes /yl$ sotto voce1 or m prop]ly flaut&o2 ! tone produc$ by ?is mann] ( b[+ is ( a beautiful s(t flute-l "*1 & s]ves z a grateful *ange to a cont9u$ h>d tone4 ,x is accompli%$ by caus+ ! b[ to be drawn ne> ! f+]bo>d1 & )\t any pressure be+ appli$2 ! /rokes %\ld be drawn mu* m rapidly ?an = ! usual way ( b[+1 ! *ange ( b[-/rikes be+ accompli%$ almo/ unhe>d4 ,x is practicable = any su/a9$ cantabile !me1 especially if ! tone is to be kept piano2 great fre$om 9 b[+ mu/ be obta9$ be=e any?+ l p]fection be arriv$ at1 ! only objection to its introduction be+ ! mann] 9 :i* phrases are *opp$ up if b[$ 9 ?is mann]2 ?is1 h[ev]1 is m app>5t on pap] ?an 9 ! p]=mance1 z if ! b[+ is skilfully manag$ x is possible to rev]se ! /rokes )\t any p]ceptible break 9 ! tone1 ! phrase be+ z cont9u$ z if execut$ ) "o su/a9$ b[-/roke4 ,,pizzicato ,,effects4 ,v>i\s effects are possible 9 pizzicato play+1 su* z ! close %ake1 ! pizzicato glide2 ! latt] if done well has a v good effect1 especially 9 *ord passages1 ! f+]s %\ld glide to ! next *ord almo/ z soon z ! /r+s are pluck$4 ,grace notes are also possible 9 ?is mann]2 ! /r+ is pluck$ = ! grace note1 !n ! f+] rapidly glides to ! pr9cipal note dur+ its vibration2 ! /r+ only be+ pluck$ once = ! two notes or *ords4 ,,*apt] ,,xv4 ,,deliv]y--,,/yle--,,=m ,,v]sus ,,feel+--,,conception--,,ess5tials ,,( ,a ,,f9e ,,deliv]y--,,or*e/ral ,,play+4 ,,deliv]y1 ,,/yle1 ,,etc4 ,up to ! pres5t *apt] ! /ud5t has be5 in/ruct$ h[ to int]pret & p]=m t :i* he sees on ! music %eet be=e him2 to give a s\lful & intellig5t read+ ( any composition1 he mu/ look beyond ! m]e writt5 notes1 & see if x is n possible to discov] "s mean+1 "s effect :i* ! compos] has be5 unable to express 9 musical notation4 ,true music is conceiv$ 9 ! m9d ( ! compos]1 9 "s m or less p]fect$ =m1 be=e any attempt is made to transf] ! ideas to pap]4 ,( c\rse ea* compos] has 8 individual way ( work+1 ?us ,bee?ov5 nev] 0 )\t a note book 9 :i* he jott$ d[n any bits ( melody or any musical ?\ght :i* occurr$ to 8 m9d dur+ 8 p]ambulations4 ,among ^! ideas may be f\nd ! lead+ !mes f :i* "s ( 8 greate/ compositions 7 aft]w>ds develop$4 ,moz>t gives u an in/ance 9 ! extreme opposite direction2 x is /at$ t ?is wond]ful compos] c>ri$ ! :ole ( a sonata = viol9 & pian(orte 9 8 m9d )\t a s+le note be+ transf]r$ to pap]1 ! compos] tak+ "p 9 a public p]=mance ( ! same ) only a duplicate ( ! viol9 copy at ! pian(orte4 ,! /ud5t mu/ keep 9 m9d t ! compos] writes 8 ?\ghts2 p]haps ! read] is unable to conceive ! difficulty ( transf]r+ to pap] ! musical ?\ghts :i* come unbidd5 to ! m9d2 to write ! notes is simplicity itself1 b h[ impossible to write a melody s t e inflection ( tone p[]1 e slight *ange 9 tempo1 & m ?an ?is ! exact s5tim5t :i* ! music %\ld convey4 ,to "s p--p]haps to "s play]s--music is m]ely ! s\nd+ ( a v>iety ( comb9ations ( s\nds1 9 v>i\s rhy?ms2 x expresses no?+ m ?an t4 ,emotion1 s5tim5t1 mu/ n be giv5 a place 9 ! musician's vocabul>y1 any?+ :i* does n appeal solely to ! intellect we are told to consid] vulg> & s5sual4 ,luckily = ! /r+ play] ^! sup]ior p are 9 a m9ority1 ! multitude are yet sway$1 & to ! end w cont9ue to be mov$ by a melody sung or play$ f ! he>t4 ,p]haps x is possible to f9d a p>allel 9 art2 "o contemplates a beautiful geometrical design2 clev]1 intricate1 graceful1 b h[ mu* bett] are we = its contemplation8 ,has x convey$ any tru?8 ,is x possible to move a cr[d ei!r to te>s or laught]8 ,is x possible to awak5 ei!r w>like or peaceful feel+s 9 ! brea/s ( ! obs]v]s8 ,h[ mu* great] to portray feel+s ?an =ms1 ?us a picture :i* depicts love1 hatr$1 happ9ess1 mis]y or gratitude1 mu/ be consid]$ great] ?an a m]e figure /udy4 ,9 l&scape pa9t+ x is great] to reproduce liv+ nature ?an m]e /udies ( trees1 sky1 etc42 ?us ! pa9t] :o makes u see ! driv+ sn[1 ! ru%+ torr5t1 ! beat+ ra91 ! fitful gleam ( sunlight or ev5 ! passive /illness ( ! wood1 conveys impressions to our m9ds1 n only impressions ( nature1 b ( c]ta9 /ates or moods ( nature4 ,comp>e "s ( ! music by su* z ,romb]g to t ( ,bee?ov5 or ,s*umann2 ! fir/ m]ely /udies 9 s\nd1 ! latt] brimful ( ?\ghts1 impressions1 :i* appeal to ! intellect ( ! p]=m]1 & te/ 8 musician%ip by ! mann] 9 :i* !y are express$ or ov]look$4 ,! /ud5t %\ld rememb] t all good music is compos$ ) a /rict obs]vance ( its effect on ! li/5]2 ?is does n mean t ,bee?ov5 wrote a s*]zo = ! sole purpose ( caus+ p to feel jolly1 any m ?an he wrote a fun]al m>* or an adagio solely to make p sad4 ,9 all ,bee?ov5's music1 z 9 t ( o!r great ma/]s1 ! li/5] is purposely compell$ to pass ?r\gh v>i\s /ates ( m9d2 :]e necess>y ! addition ( a movem5t or section 9 q a contra/+ mood is purposely made1 s t ! m9d ( ! li/5] is prep>$ = ! ensu+ movem5t4 ,! compos] writes :at inspires him at ! mom5t1 b 8 greatness is %[n 9 ! mann] 9 :i* ^! !mes are contra/$ & v>i$1 s t ! int]e/ ( ! li/5] is su/a9$ ?r\gh\t ! :ole p]=mance4 ,?is mu/ be consid]$ 9 ! deliv]y ( a musical composition4 ,x is ! effect on ! li/5] :i* "o mu/ con/antly h 9 m9d1 no matt] h[ turbul5t are ! feel+s ( ! play]1 if ! passion does n f9d its way into ! deliv]y1 ! audi5ce w be q unaw>e ( ! fact4 ,h[ is ?is to be accompli%$8 ,9 read+ al\d or recit+1 if "o only obs]ves ! ord9>y ris+ & fall+ ( ! voice at ! division ( ! p]iods1 m>ks ( int]rogation1 etc41 x w\ld be h>dly possible to say t "o read ) expression4 ,!re is some?+ m ?an ?is s*ool boy elocution requir$2 does n an orator hurry an impassion$ passage1 & drag a doleful "o1 does he n %\t a comm& & :isp] a t5d] s5t5ce4 ,s if ! musician m]ely obs]ves ! rhy?mical & dynamic effects1 ! p]=mance may be correct1 yet x w be void ( s\l1 & ( t =ce :i* c>ries along ! he>]4 ,exactly z 9 elocution1 ! p]=m] mu/ fir/ grasp ! int5tion ( ! compos] be=e a s\lful int]pretation is possible2 x is j ?is conception1 ?is grasp ( ! compos]'s mean+1 ?is trans=m+ ( ! gr\ps ( s\nd into a real liv+ p]=mance1 :i* at once reveals ! real g5ius4 ,x is q true t g5ius mu/ be tra9$ or x w fall into _m errors & exagg]ations1 !re are _m :o1 guid$ by feel+ alone1 put su* an am\nt ( individuality & :at is commonly t]m$ expression into _! p]=mances1 t ! li/5]1 l$ away by ! ru% ( passion1 ov]looks ! _m errors ) :i* ! p]=mance ab\nds4 ,x is = ! /ud5t to cultivate a /yle :i* %all satisfy ! mo/ ref9$ ta/es1 at ! same "t infus+ z mu* ( 8 own p]sonality & feel+ into ! deliv]y z ! nature ( ! composition w admit4 ,x is a difficult matt] to give any absolute rules = ! guidance ( "y play]s1 let u1 h[ev]1 consid] :at con/itutes a f9e deliv]y4 ,! fir/ ess5tial is beauty ( tone2 x is record$ ( ,j5ny ,l9d--an arti/ ) a reputation m unique x w\ld be difficult to f9d--t ! quality ( h] voice 0 ( su* beauty t ev5 ! ord9>y diatonic scale sung sl[ly1 0 en\gh to create ! utmo/ en?usiasm4 ,"o writ] describes ! pleasure exp]i5c$ f he>+ ! tone ( h] voice only1 z t obta9$ by ! sight ( pure1 brilliant col\r2 ?\s&s :o he>d ?is great s+] 7 melt$ to te>s1 ev5 :5 ! "w 0 q un9telligible to ! majority ( !m2 ?is 0 occasion$ *iefly by ! natural pa?os 9 ! tone ( h] voice1 add$ to a p]sonality z simple z s9c]e4 ,! p]=m] %\ld always consid] t tone is ! fundam5tal matt] ) :i* he works2 z a rule tone is g5]ally ?\ght to mean big tone1 b ?is is n necess>ily s2 beautiful1 sweet1 brilliant tone %\ld be ! aim1 big tone if possible1 b nev] at ! exp5se ( quality1 v>iety & phras+4 ,! next matt] ( importance is a correct conception ( tempo2 z "s writ] has rem>k$1 x is possible to trans=m a s*]zo into a fun]al m>* by a wrong conception ( tempo4 ,?is is a matt] ( great importance1 b also a matt] 9 :i* "s ( our f9e/ play]s & conductors diff] to an al>m+ ext5t4 ,9 ! case ( solo play]s ?is may be excus$1 z ! tempo :i* may suit ! *>act]i/ics ( "o play] w\ld p]haps be q dull if adopt$ by a soloi/ ) q a diff]5t /yle4 ,9 ! case ( conductors1 h[ev]1 x is to be fe>$ t mu* ( ?is diff]5ce arises f a desire to be ?\ght orig9al1 ev5 at ! exp5se ( all tradition4 ,9 det]m9+ ! tempo ( a composition ! "* & g5]al build ( ! "w itself is ! only guide4 ,! ?ird ess5tial is a fai?ful reproduction ( all ! dynamic effects m>k$ by ! compos]1 z well z all ! v>ieties 9 tempo su* z rit>ds1 cal&o passages1 accel]&os1 etc41 etc42 beyond ?is may be aga9 m5tion$ ! diff]5t v>ieties ( tone1 ! play+ ( c]ta9 passages on "o /r+ 9 pref]5ce to ano!r1 artificial %ift+ = ! purpose ( a correct phras+1 ! increas+ or ret>d+ ( ! tempo o!r ?an m>k$ by ! compos]2 ^! latt] lib]ties are only applicable to compositions ( ! lyric or romantic type1 9 ! deliv]y ( :i* x is ne$ful to introduce ! emotional elem5t1 & are n int5d$ to be introduc$ 9 compositions :i* dep5d solely or *iefly on rhy?m = _! effect4 ,"u ! latt] head may be class$ mazurkas1 t>antelles1 etc41 & ne>ly all dance movem5ts1 except ^? ( ! s5tim5tal type4 ,! fugue also comes "u ! same head1 x is possible to express rhy?m 9 musical notation b n emotion1 & x mu/ be rememb]$ t ! fugue is ! outcome ( a highly tra9$ intellect1 & n ! outcome ( inspiration 9 its indep5d5t s5se4 ,! fugue is really pap] music1 x is possible to write m ?an c\ld possibly be imag9$1 ?is also applies 9 "s degree to pieces ( a highly contrapuntal nature4 ,9 conclud+ ?is "p ( our subject x may be recomm5d$ to ! play] to le>n to anticipate effects--to he> 9 advance t :i* he is ab\t to play4 ,expression is ! manife/ation ( impression1 if ! p]=m] is n s5sitive to ! g5]at+ causes ( expression--if ^! make no impression on him1 x w be impossible = him to feel :at he is play+1 ?is sy/em ( read+ 9 advance all[s ! p]=m] to ?or\ghly grasp ! musical phrase1 & to give x a s5sible intellig5t treatm5t4 ,9 play+ at sight1 or 9 ! p]=mance ( conc]t$ music1 ?is is ( great importance4 ,! =ego+ rem>ks on individuality ( int]pretation d n apply to ! p]=mance ( conc]t$ music2 9 play+ trios1 qu>tets1 & especially 9 or*e/ral "w ! p]=m]s mu/ s9k _! own individuality1 = ! sake ( ! g5]al effect3 9 or*e/ral play+1 purity ( intonation1 a /rict & decid$ division ( ! notes1 & especially 9 l>ge or*e/ras1 :at may be t]m$ an exagg]at$ int]pretation ( ! dynamics1 mu/ =m ! basis4 ,all artificial %ift+ mu/ be disp5s$ )1 glid+ along ! /r+s mu/ also n be indulg$ 91 except 9 "s unison passages :]e all ! play]s c decide to f+] ! passage 9 ! same mann]2 passages m>k$ piano mu/ be play$ ?r\gh\t piano1 & n z 9 solo "w1 be v>i$ by slight cresc5dos1 etc41 accord+ z ! passage rises or falls1 etc4 ,! read] w readily und]/& t a !me play$ pianissimo by a half-doz5 'cellos w h an entirely diff]5t effect ?an ! same !me play$ by "o in/rum5t1 ev5 if ! same body ( tone is produc$4 ,a numb] ( in/rum5ts play+ 9 unison imp>t a gr&eur to a passage :i* is q *>act]i/ic2 x mu/ be rememb]$ t compos]s h ?is effect 9 _! m9ds :5 writ+ = /r+s 9 ! or*e/ra4 ,! conception ( ! "w & its mann] ( deliv]y re/s entirely ) ! conductor1 ea* play] = ! "t be+ mu/ accept 8 read+1 & be z subs]vi5t to ! w ( ! conductor z are ! keys ( a pian(orte to ! f+]s ( ! musician4 ,9 conclud+ x is z well to rememb] t we are n all con/itut$ alike2 "s are born to be lead]s1 !y h w1 individuality1 orig9ality2 o!rs are m fit to be lead1 !y c accompli% mu* "u ! guidance ( "s ma/] m9d1 b if left to !mselves are utt]ly useless4 ,to place a f9e solo play] 9 an or*e/ra w\ld be equal to compell+ ! g5]al ( an army to s]ve 9 ! l9e4 ,! rev]se is n always ! case1 !re are _m :o al?\gh brilliant & successful 9 ! or*e/ra are useless = any o!r bran* ( play+4 ,let ea* "o p]fect himself 9 ! bran* ( art = :i* he is mo/ suit$2 exactly z x is impossible = a musician to be ma/] ( m ?an "o in/rum5t1 s x is impossible to arrive at p]fection 9 e bran* ( music4 ,!re are _m f9e solo play]s :o h _h long exp]i5ce ) ! or*e/ra1 b !y h be5 soloi/s 9 spite ( ?is4 ,,! ,,end4 ,,t5? ,,ye> ,,( ,,issue4 ,! ,l>ge/ ,circulation 9 ! ,_w ( any pap] among/ ,viol9i/s ,,! ,,/rad ,a ,mon?ly ,j\rnal = ,pr(essionals & ,amateurs ( all ,/r+$ ,in/rum5ts play$ ) ! ,b[4 ,publi%$ on ! ,fir/ ( e ,mon?4 ,price #b;d41 ,annual ,subscription1 ,po/ ,free1 #bs4 #f;d4 ,,! ,,/rad is ! only recognis$ organ ( ! /r+ family & has subscrib]s 9 e c\ntry ( ! civilis$ _w4 ,our circulation has increas$ to s great an ext5t t we are enabl$ to engage z contributors ,,! ,,lead+ ,,writ]s 9 ! ,,viol9 ,,_w4 ,! foll[+ em95t ,au?ors1 ,critics & ,play]s are writ+ = ! pap]3 ,,john ,,dunn1 ,,esq41 ,,g]>d ,e4 ,,hodgk91 ,,esq41 ,b4,a41 ,,dr4 ,,*ur*ill ,,sibley1 ,,horace ,,pe!rick1 ,,esq41 ,,dr4 ,t4 ,l4 ,,phipson1 ,,ar?ur ,,broadley1 ,,esq41 ,e4 ,,van ,,d] ,,/raet51 ,,esq41 ,,john ,,day1 ,,esq41 ,,rev4 ,h4 ,,palm]1 ,b4,a41 ,,lanca/rian1 ,,&re ,,la ,,t>*e1 ,,esq41 ,e4 ,,polonaski1 ,,esq41 ,,rob9 ,h4 ,,legge1 ,,esq41 ,,basil ,,al?aus1 ,,esq41 c41 c4 ,,! ,,/rad gives e mon? a beautifully execut$ portrait on f9e art pap]1 ( "s lead+ celebrity 9 ! viol9 _w1 toge!r ) a biographical sket*2 & also small] portraits ( p 9 :om ! viol9 _w takes an int]e/4 ,?us1 among o!rs1 portraits & notices ( ! foll[+ h appe>$3 ,dr4 ,joa*im1 ,f4 ,l\is ,s*neid]1 ,lady ,hall1 ,l4 ,j4 ,mass>t1 ,emile ,sauret1 ,pietro ,n>d9i1 ,ludwig ,/raus1 ,m>ie ,soldat1 ,george ,craske1 ,c>l ,c\rvoisi]1 ,rob]t ,l9dley1 ,h5ri ,m>teau1 ,gabriele ,wietr[etz1 ,j4 ,t4 ,c>rodus1 ,pagan9i1 ,l\is ,ries1 ,leo ,/]n1 ,piatti1 ,c4 ,dancla1 ,s>asate1 ,johannes ,wolff1 ,guido ,pap9i1 ,nettie ,c>p5t]1 ,e4 ,f4 ,arbos1 ,joseph ,hollman1 ,&re ,la ,t>*e1 ,j4 ,b4 ,vuillaume1 ,john ,dunn1 ,rosa ,ho*man1 ,joseph ,ludwig1 ,willy ,burme/]1 ,alfr$ ,gibson1 ,alfr$ ,burnett1 ,h5ry ,sa9t-,george1 ,a*ille ,riv>de1 ,n4 ,r4 ,scal]o1 ,ri*>d ,gomp]tz1 ,felice de ,gi>d9i1 ,frye ,p>k]1 ,m>ie ,soldat-,rg]1 ,david ,popp]1 ,franz ,ondricek1 ,irma ,se?1 ,l\is ,pecskai1 ,jan ,van ,oordt1 ,i4 ,b4 ,poznanski1 ,eug5e ,ysaye1 ,h5ry ,su*1 ,w4 ,h4 ,squire1 ,leonora ,jackson1 etc4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,i4 ,cr[n #hvo41 ,clo?1 #b_/f1 ,po/ ,free1 #b_/i4 ,,! ,,/rad ,,libr>y ,,edition is ! only ,au?oris$ ,edition ( ,te*nics ( ,viol9 ,play+ ,,on ,,joa*im',s ,,me?od ,,by ,,c>l ,,c\rvoisi]4 ,) ,fold+ ,plates1 ,conta9+ ,fifte5 ,illu/rations4 ,,lett] ,,f ,,dr4 ,,joa*im ,,copy4 ,,my ,,de> ,,mr4 ,,c\rvoisi]3 ,i h read ! book on ,viol9 ,play+ y h s5t me1 & h to congratulate y s9c]ely on ! mann] 9 :i* y h p]=m$ a mo/ difficult task1 i4e41 to describe ! be/ way ( arriv+ at a correct mann] ( play+ ! viol94 ,x _c b be welcome to ?\ghtful tea*]s1 :o reflect on ! me?od ( our art1 & ,i hope t y\r "w w prove useful to _m /ud5ts4 ,believe me1 my de> ,mr4 ,c\rvoisi]1 to be mo/ fai?fully y\rs1 ,,joseph ,,joa*im4 ,b]l91 ,novemb] #crd1 #ahid4 ,! ,new & ,revis$ ,edition ( ,te*nics ( ,viol9 ,play+ issu$ by ,! ,/rad is ! only au?oris$ edition ( my "w4 ,! sev]al ,engli% editions :i* h all appe>$ )\t my k are incomplete & faulty4 ,,c>l ,,c\rvoisi]4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,,ii4 ,cr[n #hvo41 ,clo?1 #b_/f1 ,po/ ,free1 #b_/i4 ,,h[ ,,to ,,/udy ,,! ,,viol9 ,by ,j4 ,t4 ,,c>rodus ,,cont5ts4 ,/r+s & ,tun+4 ,! ,b[ & ,b[+4 ,faults & _! ,correction4 ,scales & _! ,importance4 ,c\rse ( ,/udy4 ,advice on ,elem5t>y ,matt]s4 ,conc]n+ ,h>monics1 ,octaves1 etc4 ,or*e/ral ,play+4 ,"s ,exp]i5ces z a ,soloi/4 ,) full page portraits ( ,c>rodus1 ,molique1 ,pagan9i1 ,spohr1 ,sivori1 ,de ,b]iot1 ,blagrove & ,sa9ton1 & a photo-reproduction ( ,dr4 ,spohr's te/imonial to ,c>rodus4 99 99 99 99 99 ,an int]e/+ s]ies ( articles ',h[ to ,/udy ! ,viol91' :i* ,c>rodus contribut$ to ,,! ,,/rad1 & complet$ only a week or two be=e 8 dea?1 h n[ be5 collect$ 9 *eap book =m4 ,! te*nical h9ts to viol9 /ud5ts1 :i* are practical1 pla9ly word$1 & f su* a p5 mo/ valuable4--,daily ,news4 ,b a few weeks be=e 8 sudd5 dea? ! mo/ di/+ui%$ ( native viol9i/s complet$ 9 ,,! ,,/rad a s]ies ( *ats to /ud5ts ( ! in/rum5t associat$ ) 8 "n4 ,^! *ats are n[ re-issu$1 ) a sympa!tic preface & in/ructive annotations4 ,all :o c>e to li/5 to :at 7 virtually ! la/ words ( su* a consci5ti\s tea*] w recognise ! pa9s tak5 by ,c>rodus to r5d] e detail z cle> to ! novice z to ! advanc$ pupil4 ,pleasant gossip conc]n+ prov9cial fe/ivals at :i* ,c>rodus 0 = _m ye>s 'lead]' ( ! or*e/ra1 ends a little volume wor?y a place 9 musical libr>ies bo? = its practical value & z a mem5to ( ! life-"w ( an arti/ univ]sally e/eem$4--,daily ,*ronicle4 ,x is surely1 h>dly necess>y to direct ! att5tion ( /ud5ts to ! unique value ( ! h9ts & advice giv5 by s exp]i5c$ & accompli%$ a virtuoso z ! late ,mr4 ,c>rodus1 s t x only rema9s to /ate t ! ',recollections' make delightful read+1 & t ! book1 z a :ole1 is z ent]ta9+ z x is in/ructive4 ,! value ( ! bro*ure is enhanc$ by an excell5t portrait ( ,mr4 ,c>rodus1 z well z ( a numb] ( o!r viol9 wor?ies1 & ! pr9t+1 pap]1 & get up g5]ally are good z c\ld possibly be4--,musical ,answ]s4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,,iii4 ,cr[n #hvo41 ,clo? #b_/f1 ,po/ ,free #b_/i4 ,,! ,,b[ ,its ,hi/ory1 ,manufacture & ,use ,,by ,,h5ry ,,sa9t-,,george4 ,) ,full ,page ,illu/rations 7exact size7 by ,photo ,process4 99 99 99 99 99 ,,mons4 ,,emile ,,sauret writes--,i h read x ) great int]e/1 & ?9k t x supplies a real want 9 giv+ musicians su* an excell5t description ( all matt]s ref]r+ to ?is important in/rum5t4 ,,signor ,,guido ,,pap9i writes--,?anks s mu* = y\r spl5did & int]e/+ book4 ,y are q successful & all ! arti/s & amateurs are indebt$ to y = a s exact & correct ',texte' on ! subject4 ,,adolf ,,brodsky writes--,i am delight$ ) ! book & f9d x v in/ructive1 ev5 = ^? :o ?9k to "k ev]y?+ ab\t ! b[4 ,x is v orig9al & at times v amus+4 ,no viol9i/ %\ld miss ! opportunity to buy x4 ,,! ,,times4--,a useful treatise on ! ,b[1 9 :i* ! hi/ory1 manufacture & use ( ! b[ are discuss$ ) consid]able te*nical k4 ,,daily ,,telegraph4--,to ! /ud5t !re is mu* ( int]e/ 9 ! "w1 :i* has ! advantage ( be+ copi\sly illu/rat$4 ,,daily ,,news4--,?is book seems practically to exhau/ its subject4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,,iv4 ,cr[n #hvo41 ,clo? #e_/-1 ,po/ ,free #e_/d4 ,,celebrat$ ,,viol9i/s1 ,,pa/ ,,& ,,pres5t ,translat$ f ! ,g]man ( ,a4 ,,ehrli*4 ,& ,edit$ ) ,notes & ,additions by ,,rob9 ,h4 ,,legge4 ,,) ,,eighty-,,n9e ,,portraits4 ,,press ,,notices4 ,^? :o love _! fiddles bett] ?an _! fell[s1 & :o treasure up e detail t c be f\nd & record$ ab\t _! fav\rite & *]i%$ play]s w n fail to provide !mselves ) a copy ( ?is book4--,musical ,op9ion4 ,?is book ( #bhj pages is a mo/ int]e/+ & valuable addition to ! viol9i/'s libr>y4 ,x conta9s #hi biographical sket*es ( well-kn[n arti/s1 anci5t & mod]n1 ( all nations4 ,?is is n int5d$ to be a p]fect diction>y ( viol9i/s2 ! aim ( ! ,editor ( ! pres5t volume be+ m]ely to give a few m up-to-date details conc]n+ "s ( ! greate/ ( /r+$ in/rum5t play]s1 & we mu/ conc$e t no "n ( ! fir/ importance has be5 omitt$4 ,g]many is repres5t$ by #ba names1 ,italy by #ac1 ,france by #aj1 ,engl& by #d1 ,bohemia by #h1 ,belgium by #g1 & ! fair sex by sev5 well-kn[n ladies1 su* z ,t]es9a ,tua1 ,!rse & ,m>ie ,milanollo1 ,lady ,hall1 ,m>ie ,soldat1 ,gabrielle ,wietr[etz1 & ,arma ,s5krah4 ,altoge!r ?is is mo/ agreeable read+ to ! num]\s array ( viol9i/s1 bo? pr(essionals & amateurs1 & aft] c>eful exam9ation we c f9d no?+ b praise = ?is translation into ,engli% ( a book well-kn[n on ! ,cont95t4--,! ,piano1 ,organ & ,music ,trades ,j\rnal4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,v4 ,cr[n #hvo41 ,clo? #b_/f1 ,po/ ,free #b_/i4 ,,te*nics ,,( ,,violoncello ,,play+ ,,by ,e4 ,,van ,,d] ,,/raet54 ,,copi\sly ,,illu/rat$4 ,copy ( ,lett] receiv$ by ! ,au?or f ! great 'celli/1 ,,signor ,,alfr$ ,,piatti4 ,cad5abbia1 ,lake ( ,como1 ,m>* #i?1 #ahih4 ,,de> ,,sir1--,i receiv$ ! book y k9dly s5t me on ,! ,te*nics ( ,violoncello ,play+1 :i* ,i f\nd excell5t1 p>ticul>ly = beg9n]s1 :i* naturally 0 y\r scope4 ,) _m ?anks = k9dly rememb]+ an old ex-violoncello play]4 ,believe me1 y\rs s9c]ely1 ,,alfr$ ,,piatti4 ,copy ( ,lett] receiv$ by ! ,au?or f ! em95t 'celli/1 ,,h]r ,,david ,,popp]4 ,budape/1 ,febru>y #bbnd1 #ahih4 ,,de> ,,sir1--,9 s5d+ me y\r book on ,! ,te*nics ( ,violoncello ,play+ y h giv5 me a real & true pleasure4 ,i "k ( no "w1 tutors & /udies n except$1 :i* pres5ts s mu* valuable mat]ial1 s mu* t is absolutely to ! po9t1 avoid+--,i might say1 on pr9ciple--all t is sup]flu\s & disp5sable4 ,e e>ne/ ?9k+ violoncello /ud5t w 9 future make y\r book 8 own & !reby receive h9ts :i* w fur!r & complete ! in/ructions ( 8 ma/]4 ,i congratulate y & ourselves mo/ he>tily on ! new violoncello book4 ,) k9d reg>ds1 ,y\rs mo/ s9c]ely1 ,,david ,,popp]4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,/rad ,,libr>y1 ,no4 ,,vi4 ,cr[n #hvo41 ,clo?1 #b_/f1 ,po/ ,free #b_/i4 ,,viol9 ,,play+ ,,by ,,john ,,dunn ,,cont5ts ,,introductory--,qualities indisp5sable to ! ideal ,viol9i/--,h9ts on ! ,*oice ( a ,tea*]--,"s ,tricks ( pret5d+ pr(essors expos$4 ,,on ,,! ,,*oice ,,( ,a ,,viol9 ,,& ,,b[--,advice reg>d+ g5]al adju/m5t & repairs4 ,,on ,,! ,,*oice ,,( ,,/r+s--,/r++ ! ,in/rum5t & keep+ ! ,pegs 9 ,ord]4 ,,on ,,! ,,g5]al ,,po/ure--,! mann] ( hold+ ! ,viol9 & ,b[ z accept$ by ! lead+ arti/s ( ! day4 ,,on ,,f+]+ ,,g5]ally--,! v>i\s positions--,scales recomm5d$--,! ,mod]n ,or*e/ral ,pr9cipal or 7s-call$7 ,lead]4 ,,on ,,glid+--,special ,*>act]i/ics ( "s ( ! mo/ ,em95t ,play]s4 ,,d\ble ,,/opp+--,! ma9 difficulty 9 ,d\ble ,/opp+--,h[ to ga9 indep5d5ce ( ,f+]4 ,,b[+s--,smoo? ,b[+s--,solid ,/accato--,spiccato--,spr+ ,b[--,mix$ ,b[+s4 ,,tone ,,production--,"* ( ,tone--,rules & ,condition necess>y to produce a good tone--,/yle & ,expression4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,,! ,,old ,,/rad4 ,by ,,lionel ,j4 ,,c[54 ,pr9ts f ?is celebrat$ ,picture1 exhibit$ at ! ,royal ,academy 9 #ahhf1 engrav$ 9 ! mo/ admirable mann]1 9 ,photogravure4 ,! size ( ! engrav$ surface is #ai by #ad in*es4 ,arti/'s ,pro(s1 limit$ to #ajj #d #d #j ,pr9ts on ,indian ,pap]1 limit$ to #bej #b #b #j ,pr9ts #a #a #j ,,press ,,notices4 ,among ! rec5t art publications1 ( :i* ! increas+ numb] gives ! measure ( popul> appreciation1 may be m5tion$ ! production ( ,l4 ,j4 ,c[5's ',! ,old ,/rad4' ,! picture 0 exhibit$ at ! ,royal ,academy z f> back z #ahhf1 & attract$ consid]able att5tion on acc\nt ( ! ?or\ghly ,dut* feel+ & hum\r ! arti/ _h ?r[n into 8 "w4 ,x has n[ be5 reproduc$ by ! ,swan ,electric ,engrav+ ,company1 ( :i* ! me?ods are probably unsurpass$ by any o!r process 9 ?is c\ntry4 ,h[ f> x c compete ) o!r processes 9 ! matt] ( co/ is ano!r matt]4--,illu/rat$ ,london ,news4 ,"u ! title1 ',! ,old ,/rad1' is publi%$ a reproduction ( ,mr4 ,lionel ,j4 ,c[5's picture1 :i* repres5ts a m5d] ( viol9s c>efully survey+ a fam\s old fiddle4 ,! subject is v well suit$ to reproduction 9 black & :ite1 x is ( special int]e/ to ^? :o wat* ! reproductive arts gr\p$ "u ! t]m ( ,photogravure4--,art ,j\rnal4 ,mr4 ,lionel ,c[5's ',old ,/rad4' ,! s(tness & tone ( ! plate is rem>kable4--,daily ,*ronicle4 ,! ,old ',/rad4' ,an important pr9t f ! celebrat$ picture ( a connoisseur inspect+ a g5u9e ,/radiv>ius1 by ,lionel ,j4 ,c[51 exhibit$ at ! ,royal ,academy 9 #ahhf4 ,! picture has be5 reproduc$ 9 a mo/ admirable mann]1 9 photogravure1 by ! ,swan ,electric ,engrav+ ,company1 ( ,london1 & _c fail to h a ready sale among/ viol9i/s1 musical in/rum5t mak]s1 & all :o take an int]e/ 9 ?or\ghly g5u9e works ( art4--,morn+ ,adv]tis]4 ,( ! illu/rations1 incomp>ably ! be/ is ',! ,old ,/rad1' a photogravure ( a pa9t+ by ,mr4 ,lionel ,c[54 ,z a realisation ( quiet ec/acy1 x is almo/ p]fect4--,! ,spectator4 ',! ,old ,/rad4' ,we "k ( no picture 9 rec5t ye>s t c\ld give su* ke5 pleasure to ! fiddle-lov] & confid5tly recomm5d our read]s to become possessors ( ! e>ly pr9ts4--,viol9 ,times4 99 99 99 99 99 ,,london3 ,,/rad ,,(fice1 #c1 ,,gre5 ,,t]race1 ,,roseb]y ,,av5ue1 ,e4,c4 ,transcrib]'s ,note3 ,e ef=t has be5 made to replicate ?is text z fai?fully z possible4 ,italic text has be5 m>k$ ) und]scores4 ,musical symbols :i* are n available z ,unicode *>act]s are repres5t$ by symbol4 ,! foll[+ is a li/ ( *anges made to ! orig9al4 ,! fir/ l9e is ! orig9al l9e1 ! second ! correct$ "o4 action ( ! wri/1 =m-arm1 & upp] arm dur+ action ( ! wri/1 =e-arm1 & upp] arm dur+ ! above passage at sight1 )\t ! slighe/ difficulty1 ! above passage at sight1 )\t ! slighte/ difficulty1 its relation to ! five op5 /r+s1 ! h& ( ! its relation to ! f\r op5 /r+s1 ! h& ( ! ! l>nyx4 ,! 'celli/ has sometimes to make a sweep ! l>ynx4 ,! 'celli/ has sometimes to make a sweep z p]fect fif?s1 f\r?s1 major & m9or six?1 ?irds1 z p]fect fif?s1 f\r?s1 major & m9or six?s1 ?irds1 ( ^! are ! trill1 or %ake 7tr71 ! praltrill]1 ( ^! are ! trill1 or %ake 7tr71 ! pralltrill]1 =m] is met ) 9 ,popp]'s well-kn[n ,elfantanz4 =m] is met ) 9 ,popp]'s well-kn[n ,elf5tanz4 ,pagan9i ! wi]d1 fi]y ,italian1 a/oni%+ ! _w ,pagan9i ! weird1 fi]y ,italian1 a/oni%+ ! _w accell]&os1 etc41 etc42 beyond ?is may be aga9 accel]&os1 etc41 etc42 beyond ?is may be aga9