The rhythm given in Ex. 30, is frequently met with in almost every class of instrumental music. It may be bowed in four distinctly different ways. The way mostly adopted, especially in chamber, or orchestral music, where occasionally whole sections of a work have accompaniments for the strings in this rhythm, is to tie the two notes in one bow as marked in Ex. 30, this is done, even if no bowing marks whatever are given in the parts. The upper half of the bow may be used, the bow being almost drawn to the point, then suddenly stopped to allow the semiquaver to have a distinct stroke, for the latter, using about a couple of inches of bow with a wrist movement only.
In solo pieces, and occasional passages in chamber-music, this rhythm may be given one bow-stroke to each note. However, the effect although pleasing, is so assertive especially if executed in a very broad, heavy fashion, that the listener becomes tired before many bars have been played. This bad effect is not quite so evident if the bowing is executed in a light, playful manner, the very nature of the rhythm is of a gay, frolicsome character, especially in a moderately quick tempo, therefore a dull, solid performance is entirely out of place. In practising the bowing at Ex. 30A, more than a third part of the bow must not be used, and slightly less for a quicker tempo. The semiquaver must have the same length of bow-stroke as the dotted quaver; therefore the bow must move more slowly, and receive more pressure for the down-stroke than for the light up-stroke; for the latter, the bow is carried lightly over the string, with the pressure relieved. The bowing may also be reversed as in Ex. 30B, here the longer note is played with an up bow-stroke, the semiquaver receiving a smart, light, down bow.
Another method of bowing may also be occasionally used, although when compared with any of the foregoing, it will perhaps be regarded as a trifle commonplace. The bow is placed on the strings at the heel; the first dotted quaver receives a down stroke with the heel fourth, the semiquaver being played with an up-bow, using about an eighth of bow; the next dotted quaver again receives a down-stroke with a fourth; thus gaining an eighth at each dotted note, the bow gradually travels to the point. The up-bow may also be used in like manner, commencing at the point and finishing near the heel, the movements being reversed. This method of bowing will be found useful for special passages which have to be executed in a quiet manner, or where the change in bowing thus occasioned is necessary.
[CHAPTER VIII.]
On the Positions—The Individual Requirements of 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" versus "Effect"—Choice of Positions.
Positions, Shifting, etc.
Although learning the various positions used in violoncello playing is neither so interesting a study nor so quickly mastered as are a few of the seemingly more difficult styles of bowing, a thorough practical knowledge of them is absolutely necessary both for orchestral and solo work. It is interesting to note, however, that extraordinary ability in any one direction is generally obtained at the expense of the other branch of 'cello playing. A long experienced orchestral player, although having a complete mastery of the "fingerboard," in the matter of being able to play almost any composition at sight, seldom possesses that perfection in bowing requisite for a successful soloist. The chief matters for special attention in the orchestra are time and tune, together with the ordinary "light and shade" effects; and considering the numerous compositions which the orchestral violoncellist must "go" through in one short season only, it is not to be expected that any great attention can be devoted to the perfection of bowing; or at least to such brilliant bowings as the staccato, and various spiccato effects, which are only heard to advantage when each instrument may be heard individually. The exceptions to this rule, are orchestral players who combine with their orchestral work, much practice in chamber music or solos. The same law is in effect with any who excel greatly as soloists; the solo player may have a greater command of the positions in a mechanical sense than has the orchestral player, but it is seldom he reads so well at sight. The very system of working up to perfection, and memorizing a certain number of compositions, is detrimental to good reading; in fact it may be safely said that the more an artist plays by ear the less able will he be to read at sight. I should think such artists as Piatti, Lady Hallé, Joachim, however, are notable exceptions,—not to the rule, but to great solo players being poor sight readers, but these artists have always combined much quartet playing with their solo work.