Here we have a different idea of the B♭—the equivalent to A♯. The progression from C to B♭ (Example 33), instead of giving one the idea that the B♭ should be drawn to the C, has the opposite effect; a sense of satisfaction is only felt, when the largest possible interval between two tones is made between the super-tonic and tonic. With the second B♭, the feeling is to glide quietly off the leading note on to the tonic, making the least possible interval. Thus the B♭ is pushed down by the C, and again drawn down by the A, making it impossible with any sense of satisfaction to play it in anything but its "flattest" form.
All this will be evident to the cultured musician, to whom these remarks may appear somewhat superfluous; but to the learner, who has not arrived at that stage of ear perfection, when the half-flat, half-natural style of playing flattened notes is a positive annoyance, the hints may be of service in teaching him that anything short of absolute correctness with respect to playing in tune is not to be tolerated.
With respect to the choice of positions, so many things are to be taken into consideration that only general hints may be given. The golden rule is—"Never move into a more remote position than is absolutely necessary." In slow expressive passages, everything must give way to allow of correct phrasing; thus to preserve a uniform quality of tone throughout a particular phrase, it will sometimes be necessary to work along one of the lower strings up to the sixth or seventh positions, in preference to using the next higher string. In orchestral work, and generally in quick movements, the chief matter to consider, as previously stated, is "economy of motion," but even in quick movements "effect," which may be considered the counterpart of the generally accepted term of "expression," has also to be taken into account. Occasionally a kind of verve or vigour, or sometimes a certain daintiness in effect is produced, if instead of playing a passage in the quietest way, it is taken along the string. A striking example of this may be seen in the first movement of the Goltermann concerto in D, op. 100.
It would be possible to play this passage across the strings without having to move out of position, however the effect is much heightened when played as fingered above (Ex. 34) the whole effect being augmented by the octave passage which follows, gradually working upwards until the climax is reached on the high E harmonic. There is yet another matter which I am well aware in really high art should not find a place: that is the manner in which a complete mastery over seen difficulties affects an audience. We are told that musicians should reach their audiences through the ear and not the eye, but when one considers the numerous class of compositions which have been written solely to display the brilliant technique of the soloist, or to show the possibilities of the violoncello as a solo instrument, and that many of these works are written by really great composers, the fact is forced to be acknowledged that this phase of our subject must be considered.
It will be found that many passages in such compositions are, when analyzed, found to be quite worthless in a musical sense, the only excuse for their introduction being that they offer a good chance for the player to display some brilliant feats in bowing or fingering. Therefore in playing pieces of this description, it would not be wise to sacrifice brilliance, for the sake of an easier and consequently a quieter method of fingering. From the foregoing remarks it will be gathered that various matters must be taken into consideration, especially by the soloist, when finally deciding in which positions to play any composition. The mechanical difficulties which are patent to the violoncello, must not be allowed to interfere with the phrasing of a melody, or with the musical significance of an idea. Nor in the other direction, the violoncellist must not overload any passage with effects, simply because the 'cello happens to be especially adapted for such, without any real warrant that such graces or additions are intended. This applies particularly to the introduction of the glide, which will be next treated.