Category : Instruments & Instruction

Chats to 'Cello Students

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This edition features• illustrations• a linked Table of ContentsCONTENTSChapter I.—Preliminary Remarks—'Cello Difficult to Master—Choice of a Teacher—Choice of an Instrument and Bow 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 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 Chapter IV.—Early Attempts at 'Cello Playing—Firmness in Fingering—The Left Hand—Correct Method of Placing the Left Hand Fingers Chapter V.—General Remarks on Bowing—Useful Method of Combining Scale Practice with Study of Various Bowings—Smooth Bowings—Crescendo—Diminuendo—The Slur Chapter VI.—Bowing Continued—Martelé—Detached Stroke—Mixed Bowings—The Various Divisions of the Bow Chapter VII.—On 'Staccato' Bowing—Spiccato—Slurred Springing-Bow—Varieties of Phrasing Occasioned by the Portion of Bow Used—Sautillé—Dotted Notes 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 Chapter IX.—Portamento—The Various Uses of Gilding—Some Exaggerations Exposed—How to Leap Great Intervals without 'Howling'—Combination of Glissando and Sforzando 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 Chapter XI.—Arpeggios—Their Evolution from Various Chords&mda

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