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قراءة كتاب Chats to 'Cello Students
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CHATS TO 'CELLO STUDENTS.
PRINTED BY E. SHORE AND CO.,
3 GREEN TERRACE, ROSEBERY AVENUE, LONDON, E.C.
ARTHUR BROADLEY.
"THE STRAD" LIBRARY. No. VII.
Chats to 'Cello Students
BY
ARTHUR BROADLEY
COPYRIGHT.
London:
"THE STRAD" Office, 3, Green Terrace, Rosebery Avenue, E.C.
E. DONAJOWSKI, 26, Castle Street, Berners Street, W.
D. R. DUNCAN, 186, Fleet Street, E.C.
1899
CONTENTS.
| PAGE | |
| Chapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow | 1 |
| Chapter II.—How to Hold the Instrument—Attitude of the Player—Use of a Sliding Pin Recommended—Correct Way of Holding the Bow—Some Incorrect Sketches of Same | 6 |
| Chapter III.—General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef Indispensable to the 'Cellist | 12 |
| Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers | 17 |
| Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur | 20 |
| Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow | 28 |
| Chapter VII.—On "Staccato" Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes | 33 |
| Chapter VIII.—On the Positions—The Individual Requirements of the Orchestral Player and Soloist—The Necessity of "Stretching" for the Intervals—The Locality of the Neck Positions—The Enharmonic Difference of Sharp and Flat Keys—Absolute Pitch—How to Leap any Awkward Interval—The Positions not Determined by Mathematical Rules, but by the "Ear"—Shifting—"Economy of Motion" v. "Effect"—Choice of Positions | 42 |
| Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without "Howling"—Combination of Glissando and Sforzando | 54 |
| Chapter X.—Double-Stopping—Useful in Developing the Hand—How to Determine the Fingering of Various Intervals—Gliding in Double Stops—Chords—A Correct Manner of Playing Chords | 61 |
| Chapter XI.—Arpeggios—Their Evolution from Various Chords—The Bowing of Arpeggios | 67 |
| Chapter XII.—Graces and Embellishments—The Use of the Thumb—Extensions—Octaves | 73 |
| Chapter XIII.—Scientific Basis of Harmonics—Some Peculiar Laws which Govern a Vibrating String—"Natural" and "Artificial" Harmonics—Manner of Bowing Harmonics | 82 |
| Chapter XIV.—Special Effects—"Trick Staccato"—Various Methods of Producing Chromatic Scale Passages—"Sul Ponticello" Bowing and "Bowed" Harmonics—Flautando—Pizzicato Glide and Grace Notes! | 89 |
| Chapter XV.—Delivery—Style—"Form" v. "Feeling"—Conception—Essentials of a "Fine" Delivery—Orchestral Playing | 94 |
PREFACE.
In introducing this little work on Violoncello Playing, a few words of thanks and explanation are perhaps necessary. My thanks are due to the professional friends, and students—and also to others with whom I am not personally acquainted, who have spoken or written concerning the benefit they have derived from the study of the "Chats" during the serial "run" in The Strad. It is a great pleasure to find that through the perusal of these crude literary efforts, some few have derived pleasure or assistance—that some difficulty has been made easier of mastery.
An explanation will assist any who fail to realize the limitations and intentions of a work of this description. In the first place it is impossible to thoroughly