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is generally used for passages on the violoncello, the range of which does not extend below the open D string, except for an occasional note or two, and upwards as far as C, or D, above the A half-string. This is a very useful clef, taking, as it does, the middle range of the instrument. Sometimes whole compositions, especially if of a cantabile nature, are written entirely in the tenor, and I am pleased to say that it is now becoming more known, and is more used by composers than formerly. In passing it is perhaps interesting to observe that the notes in the tenor clef, are exactly a fifth higher than if written in the corresponding positions in the bass clef. Some players use this as a kind of help, when playing in the tenor clef, reading the notes as if they were in the bass, but playing them a string higher; thus, a passage commencing on the first line, tenor clef, would be read G but played open D string. These short-cut helps as a rule are not much to be depended upon, and generally are the result of the inventive faculties which seem to be a special gift to the lazy. Each clef should be made to have a separate existence in the mind of the player, or hesitation and confusion are sure to result.

The treble clef

is also much used in its proper pitch in modern 'cello music; the old masters instead of writing in the tenor clef, wrote the high passages in the treble, the notes to be played an octave lower than represented. In playing from early editions, the violoncellist must be on the alert for this, as some of the passages written thus would not sound well even if they could be played in their proper pitch.

The student should thoroughly understand the relation of each clef to the great stave; until he is decided on this simple matter, he will be much troubled with the relative pitch of the tenor clef, treble, etc.

The great stave is composed of two sets of five lines each, with an intermediate line. This intermediate line belongs alike to the treble and the bass clefs, that is to say, it forms the leger line below the treble, and also the leger line above the bass.

Young students generally think that above the bass clef comes the tenor, higher up still the alto, and above all; the treble clef, whereas all four clefs are part of the great stave.

As before stated it is usual to carry the bass clef as far up as A above three leger lines, this is really the treble A, and not an octave lower.

The following passage will show the necessity for this, and also the need of an intermediate clef, between the bass and treble.

Any pianist of ordinary ability would be able to play the above passage at sight, without the slightest difficulty, and according to theory it is correctly written. Now, if written for the violoncellist in one stave, according to the same rules, it would be extremely difficult to read at sight, the abrupt changes of clef being very confusing.

It would be possible to write this passage entirely in the tenor clef, using only three leger lines above.

In certain passages the introduction of the various clefs in rapid succession, materially assists the player to determine the pitch of the intervals, as

It will hardly be interesting to the violoncellist to pursue the subject further, its continuation applying more particularly to composers and music copyists, than to practical musicians.

CHAPTER IV.

Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left-Hand Fingers.

Early Exercises.

The first attempts at 'cello playing must be made with long, smooth bow-strokes, care being taken to have a nice even tone from heel to point; great vigilance is here required on the part of the master, in observing that the motion of the arm and wrist is correct.

The pupil must not think that practising these long, slow bowings is a waste of time, it is the only way to obtain a good round tone, and afterwards, when whole bows are used for a quicker tempo, a command of the bow.

In practising studies in detached crotchets after the style of Ex. 1, Dotzauer, op. 120, or Ex. 1, Schroeder, op. 67, great firmness is required to stop the bow suddenly at the point; even pressure must be brought to bear on the bow, accompanied by great rigidity of the thumb. If the exercises previously mentioned, and similar studies are practised in this firm, detached, manner, it will prevent that "groping" for the note, a bad habit which the young player speedily contracts if not watched. The student being compelled to make a short pause between each note, will allow time for the hand to move into position, and the fingers to be firmly placed, before the bow is again set in motion.

The Left Hand.

To a great extent the work of the left hand is mechanical, and like everything which is mechanical in true art, must only occupy a secondary place. This is particularly true about the elements of fingering, i.e., placing the fingers on the strings in the proper manner, fingering the intervals in tune, etc., but does not apply to the close shake, gliding and various vocal effects obtained by changing the fingers on one note, or playing passages up the strings in various positions, which might be executed in a more ordinary way. All this is high art, and helps to reveal the true artist by his manner of introducing the beautiful effects caused by the means previously mentioned. However, to consider fingering pure and simple, a 'cello player of the first rank does not constantly think about his fingers, his mind is occupied with the phrasing and the correct interpretation of the composition. A good knowledge of the fingerboard is best learned at the instrument, no amount of diagrams or lengthy description of chords in the various positions, etc., being of much use in real work. The violoncellist has quite sufficient to think about without carrying diagrams of the positions in his head, even the old method of pasting such diagrams on the fingerboard of the instrument must be denounced, as this only causes the student to watch his fingers, a most objectionable habit. But again, a good player would be able to instantly place the position of any playable chord on the violoncello, or would be able to tell the sound effects of any two or more notes played in any position. This knowledge must come with practice, or it will take no small amount of trouble to make the theory fit the instrument, especially in quick passages at sight. The only way to obtain this mastery of the fingerboard, is by always adhering to one way