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—Choiceof a Teacher—Choice of an Instrument and Bow1
Chapter II.—How to Hold the Instrument—Attitude of thePlayer—Use of a Sliding Pin Recommended—CorrectWay of Holding the Bow—Some Incorrect Sketches of Same6
Chapter III.—General Knowledge—Eccentricity not Necessarilya Mark of Genius—Musical Notation—CommonErrors with Respect to the Actual Position of the VariousClefs—Tenor Clef Indispensable to the 'Cellist12
Chapter IV.—Early Attempts at 'Cello Playing—Firmness inFingering—The Left Hand—Correct Method of Placingthe Left Hand Fingers17
Chapter V.—General Remarks on Bowing—Useful Method ofCombining Scale Practice with Study of Various Bowings—SmoothBowings—Crescendo—Diminuendo—The Slur20
Chapter VI.—Bowing Continued—Martelé—Detached Stroke—MixedBowings—The Various Divisions of the Bow28
Chapter VII.—On "Staccato" Bowing—Spiccato—SlurredSpringing-Bow—Varieties of Phrasing Occasioned by thePortion of Bow Used—Sautillé—Dotted Notes33
Chapter VIII.—On the Positions—The Individual Requirementsof the Orchestral Player and Soloist—The Necessityof "Stretching" for the Intervals—The Locality of theNeck Positions—The Enharmonic Difference of Sharp andFlat Keys—Absolute Pitch—How to Leap any AwkwardInterval—The Positions not Determined by MathematicalRules, but by the "Ear"—Shifting—"Economy ofMotion" v. "Effect"—Choice of Positions42
Chapter IX.—Portamento—The Various Uses of Gilding—SomeExaggerations Exposed—How to Leap Great Intervalswithout "Howling"—Combination of Glissandoand Sforzando54
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