1. Of the manner of holding the violoncello; 2. Of the holding and action of the bow; 3. Of its use in the up and down strokes; 4. Of the tuning of the violoncello; 5. Of the division of the fingerboard into diatonic as well as chromatic tones; 6. Of the fingering in the lower (first) and following positions; 7. Of the way and manner of returning from the higher positions to the first; 8. Of trills and appogiaturas; 9. Of the various kinds of bow action; 10. Of double-stops and arpeggios; 11. And also of the thumb position. He also gives instruction for those who wish to go from the gamba to the violoncello, and then in conclusion gives hints for the accompaniment of singing and for instrumental solos.
It is evident that the directions of Corrette have chiefly a mere historical importance, as the technique of the violoncello, after the appearance of his method, underwent substantial changes. His explanation concerning the finger positions of that period and the thumb position which in the higher parts of the fingerboard takes the place of a moveable nut, concerning the manipulation of the bow, and the considerations to be observed in exchanging the gamba for the violoncello have a special interest for us.
With regard to the first of these four points, we remark that the finger position adopted by Corrette for the diatonic scale on all the strings was, in the first two positions, 1, 2, and 4; in the “third position,” 1, 2, 3, 4; and in the “fourth,” 1, 2, and 3; after the latter position the fourth finger was as a rule no longer needed, for which Corrette adduces as a reason that it is too short to be made use of in the higher positions of the fingerboard; in case however it should be necessary to use it, the use of the left arm would be impeded. In exceptional cases, says Corrette in another part of his school, the fourth finger could be used in the “fourth position,” without altering the thumb position, for the B flat and B on the A string, for the E flat on the D string, for the A flat on the G string, and for the D flat on the C string. The finger positions were then, in the first half and about the middle of the last century, somewhat different in the diatonic scale of the violoncello than they were later on. It is especially to be remarked that the E and the B were touched with the second finger upon the two lower strings, though the notes marked were far more convenient for the third finger, which very shortly took the place of the second.
As to the exclusion of the fourth finger, when playing with the thumb position, no proof is needed to show the reason was that it gave an awkward manner of holding the left hand. The finger positions for the chromatic scale still more widely differed from the fingering employed later, as the following scale shows—
It very nearly happened, that as early as the seventeenth century when a stringed instrument was so much desired as a standard one for the violoncello, that the violin mode of fingering was adopted for the former, which according to the foregoing remarks really was the case, with the exception of the use of the third finger. It had however been overlooked that the cello, on account of its much larger dimensions, demanded an entirely different method of fingering. The regulation of this important point, which offered peculiar difficulties, occupied cellists up to the beginning of our century. In some measure the fingering which Corrette teaches for descending intervals of a second from the higher to the lower tones is unavoidable. He gives the two following examples—
He gave the preference to the second example.
The almost total exclusion of the fourth finger caused a very great restriction in playing with the thumb position. But when Corrette wrote his work this limitation would hardly have been felt, as the higher parts of the fingerboard were little, and, only in exceptional cases, used by cello players and composers. Corrette mentions, as the highest tone, the one-lined B. Caporale and Pasqualini do not go beyond this note in their sonatas, already mentioned, excepting in one instance, when Caporale casually uses the two-lined C. It appears that, with many cellists, in place of the thumb the first finger was made use of in the higher positions as a support, for Corrette remarks concerning his method: “If the first finger is used instead of the thumb the fourth finger must necessarily be made use of; it is, however, on account of its shortness, really useless in the upper ‘positions.’” To beginners Corrette recommended the attempt then in vogue—but a little later combated by Leopold Mozart in his violin school[66]—to introduce marks on the fingerboard indicating the intervals in order to learn to play clearly in tune. For gamba players who, following the spirit of the time, gave up their instrument and turned to the violoncello, which was rapidly coming into use, this means of assistance had a certain value, accustomed as they were to the frets of the gamba fingerboard, for the finger positions of both instruments differ considerably from one another, as appears from the comparison given below by Corrette.
