or
according to the variety). Besides the above, and not included in these two divisions, are numerous graces, or ornaments, which perhaps come under the head of effects, and both in their introduction and their manner of execution, are left entirely to the player. Under this head may be mentioned the close shake, or vibrato, and the vocal effect produced by changing the fingers on a stopped note, or playing two notes of the same pitch in different registers of the instrument.
Considering the largely increasing quantity of literature which deals with the elements of music, wherein most of the above graces are treated, it will be useless to again go through an explanation of them. It will be necessary, however, to deal with one or two matters relative to their execution on the violoncello.
It used to be customary for singers and instrumentalists to take more liberty in the introduction of graces and embellishments than is allowed in modern times, or is possible with modern compositions. The early Italian vocal school must be held responsible for many early extravagances in this direction. The representatives of this school, fitted as they were by nature, climate, language and training, for brilliant vocalisation, never lost an opportunity of displaying their wonderful feats of execution; in the opera even the simplest melody being overloaded with trills, turns, grace notes and especially by the introduction of long bravura passages, in the shape of variations on the melody, or as cadenzas. An amusing instance of this was the competition between Farinelli, the celebrated singer and a trumpeter (Rome, 1723), which took place before a large and enthusiastic crowd. I suppose each of these artists tried to outshine the other in the brilliance of their improvised cadenzas and coloratura passages. With the exception of added cadenzas in some concertos, it is not now considered good taste to embellish a composition—even the simplest melody, by the addition of anything to the written notes. The modern artist, especially the instrumentalist, must content himself with his individual treatment of what is before him, depending solely on this, and the beauty of the composition for his effect.
The Trill.
To acquire a good trill on the violoncello, the student should practice trilling with each finger, commencing very slowly at first, then gradually increasing the speed. Each finger should be perfected separately, the fourth being generally the weakest, will require more attention. The following exercise (Ex. 50) if properly practised, should be the means of perfecting the student in this essential and pleasing ornament.
