Key arpeggi are formed from the common chord, that is the tonic, mediant and dominant; they may be practised as running arpeggi in three octaves. These arpeggi are published for 'cello in a very useful form, together with the major and minor scales, etc., by the St. Cecilia Music Publishing Co.; the arrangement is by Coward Klee.
The notes of a chord which are to be played as arpeggios, are sometimes interspersed with notes foreign to the chord in the form of passing notes, and nearly always one or more notes of the chord are reiterated (Ex. 46).
Ex. 46 will illustrate how arpeggios are usually evolved from a chord. First is shown the G major triad; 46a gives the three part chord played in arpeggi form; 46b has the mediant and the dominant repeated, and 46c introduces the C and the A♯, both notes being foreign to the harmony, but used as passing notes. Many otherwise difficult passages, are rendered quite simple to the student, who only considers of what chord the scattered notes form the harmony.
In playing arpeggios the hints previously given in the remarks on the "Left hand," "Positions," "Double-stops and Chords," concerning a correct management of the left hand fingers are applicable. The remainder of the present chapter will be chiefly devoted to the management of the bow, in several of the standard forms of arpeggio.
Arpeggios (Bowing).
The manner of bowing the various forms of arpeggio, offers difficulties of a peculiar nature to the student; this is chiefly occasioned by the crossing and recrossing of the strings, which although greatly adding to the possibilities and brilliance of many of the various modes of phrasing, also in most cases adds to the difficulty of a quiet performance. A thorough knowledge of the arm and wrist movements which are brought into use in approaching any of the four strings with various parts of the bow, and with either up or down bow-stroke is essential; this knowledge is not to be gained by hard practice, but rather by a careful analysis of the "mechanics" (if the word may be used in this sense) of simple bowing.
The end to be kept in view should be to accomplish the crossing of the strings in as quiet a manner as possible, that is with a minimum of effort; as an aid to this, wherever possible the elbow and upper arm should be held in a quiet position near the side, the changing of the bow from one string to another being chiefly accomplished by a wrist movement, or by a slight upward movement of the fore-arm.
