projection fits against the stick. The extreme tip of the thumb should be placed on this upper projection (Fig. 2) so that it is also partly on the stick, the thumb being assisted in holding the bow by the second and third fingers. The second or middle finger is so placed that the tip touches or overlaps the hair close to the lower projection; the third finger falls naturally into its place next to the second finger, and has its tip touching the metal, or silver ferrule on the lower projection (Fig. 3). These two fingers and thumb are all that are required to hold the bow, the fourth finger serves to balance the bow and should be placed lightly on the stick, its chief work being to prevent the bow dropping too much when playing at the heel, and to ease the pressure on the strings in very light passages. Last but not least comes the first finger; this is the member which is responsible for quality and quantity of tone, it should have a slight bend round the stick, and so that the other fingers do not interfere, it should be placed slightly apart, this also helps to bring out a louder tone if required. The first finger like the fourth is not compelled to remain stationary, thus in long semiquaver sautillé passages, where the extended position of the first finger would interfere with the natural spring of the bow, it should be made to relax its pressure and take a position nearer the second finger; again in long sustained heavy notes the first finger may be extended slightly, so that more pressure may be put on the bow. These last remarks are most important, as the whole success of the student's bowing rests on the correct use of the first finger, and the proper position of the thumb. I cannot quit this subject without mentioning the importance of having the muscles, especially the tendons on the back of the hand, perfectly easy when the bow is in position.

To allow this, the knuckles must not protrude in the least, the fingers also help by being allowed to bend easily at their middle joints, the upper phalanges having an almost horizontal position over the bow (Fig. 2). The wrist is more rounded when playing near the heel than at the tip, and also when playing on the lower strings. Without the aid of an Edison Cinematograph, it would be impossible to demonstrate pictorially the action of the wrist, fore-arm, and upper arm during the transit of the bow from heel to tip, and on all the four strings, but if the preceding instructions are carried out the bow will at least be held properly. Although my remarks may seem rather drawn out on this subject, from my own personal experience I may say that could I have had this knowledge imparted to me a couple of years earlier than was the case, much unlearning and relearning at more than double the expense would have been saved. To the student who is in possession of the Seb. Lee instruction book, I would remark that the position of the thumb as shown in the plate superscribed "Position de l'archet" (Fig. 2) is decidedly misleading. It is impossible to have the thick fleshy part of the thumb near the first joint, grasping the nut as there shown, without having the fingers stiffly extended, and the knuckles protruding; a position which I wish the student to guard against.

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.

General Knowledge, etc.

The general education of the student must on no account be neglected, in prematurely or unduly developing his talent for 'cello playing. The life of a musician is distinctly social, and it should be the aim of all aspirants to the title of artist, to fit themselves for the society into which it is likely their professional duties will take them.

It is well known that some people believe that musical talent can only be in a high state of cultivation, at the expense of every other branch of learning; the term virtuoso in their estimation being synonymous with ignorance or even vice. Others even go so far as to imagine that all great musicians are in a more or less state of imbecility, and no matter how much they may be encouraged when on the concert platform, if invited to a private social function would only be tolerated for their musical capabilities. In a great measure this has been caused by some few artists who have thought to add to their popularity by assuming in their demeanour, eccentricities of the Paganini type.

In these days of much education, it is almost essential for the violoncellist who hopes for only ordinary success, especially as a teacher, to be well grounded in several secondary subjects, as well as in 'cello playing. Besides an ordinary English education, the following are the most important, Theory of Music, Musical Form, a slight knowledge at least of Harmony and History of Music, and for teaching purposes, if not for his own edification, a smattering of at least two modern languages, say French and German; even if the instrumentalist only knows the correct pronunciation of musical terms in these and similar languages, much blundering will be saved. To all this should be added a complete knowledge of the construction of the violoncello, and also its most well known makers, together with the period in which they worked.

The reader will perhaps be dismayed at so large a list of subjects, but as it is not necessary to teach every subject of which one knows a little, sufficient for one's own use may soon be learned, if a properly regulated course of reading be adopted. To accomplish this, it is much better to master an elementary work on each subject, than to skip through a more advanced treatise in an imperfect fashion. Messrs. Novello, Ewer and Co. publish some very useful little works on some of the above subjects. There is also a little book on Theory by Robt. Sutton (Robert Cocks and Co.) which will be found to be very useful for beginners.

The above and similar works should be the daily companions of the young student for the first few years of his pupilage.

Musical Notation.

With the help of the theoretical works mentioned previously, the student will soon learn the various clefs, key-signatures, rhythms, and scale forms, etc. My remarks will be confined to various peculiarities in the clefs used in 'cello music, and I shall also try to explain away some of the difficulties over which learners generally stumble. The violoncellist ought to be happy in the knowledge that his music is written for him in at least three clefs; but on the contrary this very abundance, to many, is a great annoyance. The fundamental clef in 'cello music is the bass clef

its range as far as the 'cello is concerned, if from C, two leger lines below, which is the C open string of the 'cello, to C, leger line above. However, for clearness and simplicity in reading, the range of the bass clef is extended by means of leger lines as far as A, an octave higher than the top line of the clef. The bass clef seems to be the most easily learned, perhaps because it is generally the first to be tackled, differing greatly in this respect from the tenor clef, the latter clef sometimes having a damping influence on the young 'cellist's enthusiasm for a considerable period.

The tenor clef