Modern Ween Oates VIOLONCELLO STEPHEN DE’AK Volume I “presser foodTHE SCALE The seale is the foundation of melody, and is @ melody in itself. It is therefore nec- essary to devote particular attention to its perfect exeeution at all times-- not only from the standpoint of intonation, but especially because it affords a foundation for left ~ hand techniqu The scale comprises twelve half- steps. In C- major these are C, C#, D, D#, E, BFE G, Gt, A, Af aaa B. 'Twalbsll= alepp make cuswhola step, andiia the wajor seale the whole steps and the half-steps are as follows: Two whole steps, one half- step, three whole steps, one half~stepj in the C major seale this may be illustrated: = rh TAS ys 2 I 0 Mm IW V_ VI Vil I degrees It is essential for the student ‘cellist first to hear in his mind the note or tone that he wishes to produce on the instrument. Almost everyone can sing the scale more or less by instinct, and because it is easier to sing the scale in tune thanto play it correctly, it is advisable to sing those exercises that are within the voice range. Careful attention to the following points is essential for perfect intonation: In playing the scale, particular attention should be taken with the third, fourth and seventh degrees. The third degree always gives the character of the tonality,-- E,in the C-major; Eb in the C- minor. The fourth is a semi-tone, or half-tone interval from the third, in the major scale, so that the intonation must be exact. It is a common error that most students do not play their sharp notes sharp °~ nough, nor their flat notes flat enough. The student should be always conscious of whether he is playing whole or half tones. In major scales, the third is closer to the fourth; in minor scales, the third is closer to the second. The seventh, being » leading tone, is closer to the eighth than it is to the sixth. In contrast with the piano, where, for instance, C# is played by the same key as D}, on stringed instruments Cf must be played higher than Db, Thus, on the ‘cello, C# is nearer to D than it is to C, and Dbis nearer to C than to D. Minor scales will be explained after the student is thoroughly familiar with the playing of major scales, MM 6Tones : 7 There are 7 natural tones or lowered a half tone (b: flat) SS 4: natural sign x + double sharp sign raises a note 2 half tones bh = double flat sign lowers a note 2 half tones Rhythmical Divisions Whole note Half notes Quarter notes Eighth notes Sixteenth notes whole half quarter eighth sixteenth Marks of rest Pee BEBE ete KKK KKKK BEKREKEEE Baie © 1929 by Etkan-Vogel, Ine. All Rights Reserved International Copyright Secured Copyright Renewed Printed in U. 454-00009Dotted notes A dot after a note prolongs the note half its value pb io b Ne le Bass Clef SSS =oe CDEFGABCDHEFGABCDEFGA The four strings of the Cello are tuned The following bowing exercises should be practised very slowly and with full and even tone, Count 4 in a bar.x ramen neers Vest: Ya aVE ben ely Se ee we, E xA bar, or measure, is the smallest rhythmical unit of a piees of music, and each measure is indicated be- tween two vertical lines crossing the staff. The number of rhythmic impulses, or beats, within s measure is indicated at the beginning of the piece, by the upper figure of various signs as follows: a ete. MMLV. stPt. UE LH. {: Abbreviations Down bow. Movement of the bow from left to right. Up bow. Movement of the bow from right to left. Whole bow. From frog to point. At the middle of bow. At the frog. At the point. Upper half of the bow. Lower half of the bow. Repetition sign. ‘—— Keep finger pressed down. The horizontal line indicates duration of the pressure. »The Slur —or— indicates that two or more notes are to be played to one single stroke of the bow.10 Left Hand First Position In placing the fingers on the strings for first position, the first finger must be about three inches from the string nut. All four fingers are a semitone’s distance apart from each other. The thumb is straight, and its cushion pressed against the back of the neck directly opposite the second finger. The first, second, and third fingers are curved, pressing against the strings with their tips, while the fourth is straightened to allow its fleshiest part to press on'the string: Never allow the finger joints to cave in. (Plate 12, The left elbow must be held away from the body of the player, but never so high as to cause the wrist to cave in, ‘The fingers attack the strings with a definite hammer stroke for each tone; their release from the strings must be done with a quick, springy movement. Seen FOR age AND FINGER CONTROL = yy Nv: eeupe ee In the following exercises the finger pressing the first note must remain pressed on the string while the see- ond note is being played. ° es = A and D stringil MY. ot G string 2 712 SSS ee as Simeon sto 7 mn VA V ony y Vay SS F wat we Pe WR om wR MEY. 7 Pot! KO bt 08)* Use half bow to exch note. From frog to middle or from middle to point. MMV4 MMV.WMV. 1516 5 MMY. 61NO3 NO418 NOT WMLY.-64C major Scale ama eio) enone so4an Xxx xxx| Pd = Observe mv www wr QUIZ QUESTIONS of FIRST POSITION Which finger should be used On the A-string, for B? On the G-string, for C ? On the C-string, for Eb? On the D-string, for F#? On the A-string, for D? What note is played with the 2nd. finger on the D string ? 8rd. finger on the @ string ? 4st. finger on the D string ? 4th. finger on the A string ? Srd. finger on the D string ? ‘When starting an exercise or scale on any place except on open string, the finger should be pressed down before the bow touches the string. x Th xe The fond finger should strike the string with the ard finger. rd. finger should strike the string with the Ath. finger. xX First, second and Bred. finger should strike the string with the 4th finger, MNOmi mv, wT X When two or more tones aro to be played to one bow, they should be divided evenly on the bow. 2x The sign f or b placed noxt to the clef indicates the key of the piece. MMN.-6tSwamee River 2 nV_on Vo nv a NO4g eS LE es, 3 —S y 7 sagas 40 BOssrots rose aasOns 4g = = ; = q a q @ 2% When playing whole tone with tet and And. fingers, the first fingor preseos string with right outer part of 2 tip. mMMEM: inateSex ALSNARA og) V24 = im iv va tr NO 22 DC. al Fine ee X Da Ospo al Fine: From begi 2 Count Hand 2 and 8 and MMV-8The following Air (My Old Kentucky Home) in different keys v inc LE WB. MMY-6inBbo 27 Daily exercises in the First Position The following finger exercises should be practised every day for about fifteen or twenty minutes. ‘Two notes to one bow, or four notes to one bow, from frog to point, The fingers should be lifted as high as possible, and dropped with forceful, hammer-like stroke. Gip, Gh gag eg Ofes Os st Ofst Of at ODO OSBO OSS OTT Oeat ote Oi Owns, 1909: 0c08 bhOds Weisunr aipnill sills ee ee ee eee Osse 8 Sees =< ee 41028 os08 bass tees Tera 60201685 Obo8 iy n © of 3 6 O10 © X This exerciso to be played with fingers lying flat on both strings. XX Combined motion of the arm and (a slight) wrist movement.Daily bowing exercises For daily bow exercises, the student should always use a new scale, and apply the following bowings. Is is necessary to play the scales without the aid of music, in order to concentrate more intensively ‘on the correct position and motion of the bow, as well as the correct intonation. The bow should be held so that the flat surface of the hair is not entirely upon the strings. ee nvny vi wa At the frog x wi nVnV roe om n), ny Vn ‘Avthe point Atthe middle, «= wp, PH WR Fr WB. Wesel rteeee Vannes 17: Vanes ¥ The bow in motion should remain on the strings always an equal distance between the bridge and the finger board, When changing the bow, particularly at the frog, the student should carefully avoid any scratching sound. These exercises should be practised before a mirror, so that the student can watch and maintain the correct position of the instrument and bow, arms, hands, wrists and fingers. The following exercises should be played without the aid of a given fingering, to utilize all the experience from previous exercises. Do not lift fingers until it is necessary to do so in order to execute the next tone. Count aloud. v meena. NO 24. Wa Ne Va ’ V Via WR. ne X To be played with full sustained tono with equal intensity at all parts of the kow. wetNO25 NO 26 NO27 Scotch Song —~ i America Silent night nv ‘Au clair de Ia Tune a nv MMY.-5tOld Baek Joe Second Position Before moving out of the first position, the half-note exercises help to acquire skill in changing the fingers on one note. In using one finger for playing notes in succession, ils pressure during the slide from one note-to another should be equal to the pressure ox- erted in playing each note. In changing from ono position to another, the thumb always maintains its position under the neck of the instrument and opposite the second finger. Dexterity in changing positions is the basis of good left hand technique. ee ea 2 28 = a —— Pacte a grace note to Ff acin an grace noto to B aaa ee‘When a group of notes is played, each note with » separate bow stroke, with the ehango of the bow made purposely andible, but without pause, t MM 54 manner of performance is called DETACHE BOWING.NO 34b it DETAGHI . 3 —7F 1 ° “2 ee t oct,Patt eat seit - MMT34 OFT 203 reer ota et A tat tats Tato Tate cxyeeNO 44 MMY.-01 354th Position Ota ise fase pens eta s Tiet eats e918 Sav! tots teat ayer $1a 4 O1ss s34s t4a5 tase Ba shay SS SSS ae eas panes Saat sis «ete p15 4 te et 1 Se 38 a7 ‘Ve “Ye *# ea >. 20 o X In making the chango from the first to the fourth position, the first finger should be drawa closer toward the fourth finger, and the second and third fingers held high. In the change from the fourth to the first position, the fourth finger is drawn closer toward the first, and the accond and third fingera are hold high. The student find it helpful to establish the right place af the fourth position by slightly touching the eide of the inetrument with the lower part of the hand, MAMY- 51 eas 8 7 eo]38 5 % Staccato: short notes, The dot above a note indicates ite real value in execution: ESE P=E— SE During the rest, the bow is held pressed on the string with the a me preveure as when playing xxWhen a group of notes is played, each note with a separcte bow etroke, and with e-definite stop or pause ‘between each short stroke, tho manner of performance is called MARTELE BOWING. “MY. 4eGipa Anan eet 7 ate Sasditad x When sevoral notes are played on one stroke of the bow, uninterruptedly and smoothly, the performance is known es LEGATO BOWING. MUEY-swe Portamenti S If the otudent cannot hear in his mind the notes of an interval, such as hho should establish the correct tone image by practise of the intervening not ae Sela ‘aote in portament! bridges ‘between maton This'guido"aote ‘ot be heard, aad it should be axacuted fn a ewift eee OB ER x og sor v000 30000 @ Alla breve: indicates the stythm of 3 written in $c NO54 teat ra aase tae Tho clide should ke so executed that the Dp is not heard distinctly.42,X When the student has enough confidence, after acquiring the skill of changing pos hould loavo out the notes in parentheser. jon in perfect tune, heEb major Scale the pe re ie 4 eee eee o NO 62, Tits a = 4 5th Position MALY-5Ab major Scale 13 ET ieee fa 9 alah a at eos cgi DL, Renae a se a aaoasere eee oo = a8 peal 2 an2 a. ee ae gat sat 1 Sat4, . . D.Cal The melodic minor Scales In ascending melodic minor scales, the sixth and seventh degrees are raised a half tone;in descending, they are lowered half a tone. A minor ascending A minor descending Fee meine veo veeiwmil1 = 2 =o = o S35= o SSS MLNRhythmic Study Rhythm is comprised of both active and passive impulses. Normal accent takes place on the active impulse, or beat. When this accent is displaced to a passive beat in the music, or is contradicted by a stronger accent on the passive beat, syncopation occurs.48 = Exercise for double stops x eres) vi ee xThore should be a slightly greater pressure of the bow upon the upper string for each double stop, to em- phasize the melodie line.E minor Scale 49 ve ic fo» thy = 2X Do not slide from “@"to’ uM.No69 mLY-611042410438 C# minor 5152 NO 74 Bass Clef 6th & 7th Positions Acstring te eet = Tenor Clef (iat Tadeo taaring ois ATR RgaAF. 3 X Very smooth bowing at the middle of the bow. 2X Slide with third finger 200 Third finger changes place with first, while sliding. WAMV 64samy - ee ee ae ws tha = 4 ‘ gas eens ‘ ee oder aA. eee a) = EN 2 a = q eae ee ey 1 n tas 3 ne ‘ x es et aye wen er Pe ee ar a ot Ms Sp MSN ap od oF 4 ‘ ooo ts i 1 SP eee reef ee te ee et ae Siete “ 4 1 FSS Tt ers Sate 48 ee ee eS en 7 7 ok 48 y Perey: Daa Pe ae ei ee $ pee ee 14 ‘ab 5 oat Sane, we a et 54 bea ee é oer Cea 2 8 a ae 5 = 4 Babee We ols too ies A Peet > ges Presto54 VIBRATO Vibrato is one of the chief factors in the creation of a rich, beautiful, singing tone. With a special pressure concentrated in the fleshy part of the finger tip, the entire forearm and hand, acting as one unit, and combined with a slight sidewise movement from the elbow, rotates in a regular, rhythmic, and fairly rapid, waving motion, pro- gressing to and fro parallel with the strings. Only the vibrating finger may be in contact with the string. When vibrating on the fourth finger the thumb must be released from the neck of the ‘cello. SYMBOLS OF DYNAMIC EXPRESSION For the different intensities of tone, and for shadings and nuanees, there are specific marks of expression, either indicated in the Italian or in its corresponding sign language. The following marks represent various dynamic intensities: ‘Symbol Italian Expression Meaning : ‘Pianissimo. Very soft Soft Gradually ineressing intensity of 4 --Gruay ‘diminishing intensity ‘of tone Accent is a sudden stress on a tone. POSITION OF BOW ON STRINGS For any increase of tone the bow should move closer to the bridge, because near to the bridge is to be found the greater string resistance necessary to sustain the increased pressure. For soft, mellow tone quality the bow should be near to the fingerboard. MARKS OF TEMPO In connection with the above table of dynamic expressions, there is here given a list, in Italian, of the most commonly used terms indicating various degrees of tempo.Home Sweet Home (ieee tt eee te —— Massa’s in the Cold,Cold Ground Andante 3 Neg 1 A Enos Ty panto 1 ee ee ° ats — 3 ue ae ee oe ———— Moderato SSE Sie es ya igeaby asses: Ls 4 i ak sw 4 a The Last Rose of Summer Larghetto, Vege ~ Y ~ pestis cae nae ea) a = Pian oo Vis coy ha 4 ot ae rane ane = = eres Andante Drink to me only with Thine Eyes gate Preheat ae P — SS 9 pos ao ea eee ee eee en < — — * ——-rF ——56 = Gaudeamus Moderato ° ea z as ae aa ae ae a John Brown’s Body ree Moderato Vy Maryland My Maryland See ihe So OV bt So, EoeN x 18 od ies oe es —-\ wet 4 Sao, Ape wf >= Fs58 - C minor 4 a a 428 too as ot otaso Las ‘ Saaro4* toast os 9ta? MLL59 MOLY.-5t a4 4 21314 42 ati14 9 ‘D.C.al 7X60 = ars24oia 2 (u Bb minor MMLV-6tB major . a4 ors a Bb irgds ma AOS Seas Pee et kee. ee62 . X ‘The execution of the dotted eighth notes necessitates « firm grip of the bow, using about six inches of the hair. Use the following bowings, firet at the frog, then at the point, and lastly at the middle. The dot under the ateenth-note marks a break between the two notes, during which the bow is held preuend on the string with the fume pressure as when playing. MOLY.Chromatic Exercises aus 2 2s Ai aise 122 1858 9 2 ator No 8s Pizzicato Pizzieato or plucking is done with the first finger while the bow is held against the palm of the hand by the other fingers and the thumb lightly touches the right edge of the finger- board about six inches from its end. Care should be taken in plucking the string horizon- tally, not to let the string hit the finger-board, When bow is used after pizzicato it is marked “Arco.” ° NO 89 Exercises for Stretching Fingers ao a PN eee A ee Riri ee a on rs Ae ee aoa ———— ce feet ee ah fa a8 ok eee 7a DA End of Volume 1 SLL. = 5