Chats to 'Cello Students

CHAPTER III.

General Knowledge—Eccentricity not Necessarily a Mark of Genius—Musical Notation—Common Errors with Respect to the Actual Position of the Various Clefs—Tenor Clef indispensable to the 'Cellist.

General Knowledge, etc.

The general education of the student must on no account be neglected, in prematurely or unduly developing his talent for 'cello playing. The life of a musician is distinctly social, and it should be the aim of all aspirants to the title of artist, to fit themselves for the society into which it is likely their professional duties will take them.

It is well known that some people believe that musical talent can only be in a high state of cultivation, at the expense of every other branch of learning; the term virtuoso in their estimation being synonymous with ignorance or even vice. Others even go so far as to imagine that all great musicians are in a more or less state of imbecility, and no matter how much they may be encouraged when on the concert platform, if invited to a private social function would only be tolerated for their musical capabilities. In a great measure this has been caused by some few artists who have thought to add to their popularity by assuming in their demeanour, eccentricities of the Paganini type.

In these days of much education, it is almost essential for the violoncellist who hopes for only ordinary success, especially as a teacher, to be well grounded in several secondary subjects, as well as in 'cello playing. Besides an ordinary English education, the following are the most important, Theory of Music, Musical Form, a slight knowledge at least of Harmony and History of Music, and for teaching purposes, if not for his own edification, a smattering of at least two modern languages, say French and German; even if the instrumentalist only knows the correct pronunciation of musical terms in these and similar languages, much blundering will be saved. To all this should be added a complete knowledge of the construction of the violoncello, and also its most well known makers, together with the period in which they worked.

The reader will perhaps be dismayed at so large a list of subjects, but as it is not necessary to teach every subject of which one knows a little, sufficient for one's own use may soon be learned, if a properly regulated course of reading be adopted. To accomplish this, it is much better to master an elementary work on each subject, than to skip through a more advanced treatise in an imperfect fashion. Messrs. Novello, Ewer and Co. publish some very useful little works on some of the above subjects. There is also a little book on Theory by Robt. Sutton (Robert Cocks and Co.) which will be found to be very useful for beginners.

The above and similar works should be the daily companions of the young student for the first few years of his pupilage.

Musical Notation.

With the help of the theoretical works mentioned previously, the student will soon learn the various clefs, key-signatures, rhythms, and scale forms, etc. My remarks will be confined to various peculiarities in the clefs used in 'cello music, and I shall also try to explain away some of the difficulties over which learners generally stumble. The violoncellist ought to be happy in the knowledge that his music is written for him in at least three clefs; but on the contrary this very abundance, to many, is a great annoyance. The fundamental clef in 'cello music is the bass clef

its range as far as the 'cello is concerned, if from C, two leger lines below, which is the C open string of the 'cello, to C, leger line above. However, for clearness and simplicity in reading, the range of the bass clef is extended by means of leger lines as far as A, an octave higher than the top line of the clef. The bass clef seems to be the most easily learned, perhaps because it is generally the first to be tackled, differing greatly in this respect from the tenor clef, the latter clef sometimes having a damping influence on the young 'cellist's enthusiasm for a considerable period.

The tenor clef

is generally used for passages on the violoncello, the range of which does not extend below the open D string, except for an occasional note or two, and upwards as far as C, or D, above the A half-string. This is a very useful clef, taking, as it does, the middle range of the instrument. Sometimes whole compositions, especially if of a cantabile nature, are written entirely in the tenor, and I am pleased to say that it is now becoming more known, and is more used by composers than formerly. In passing it is perhaps interesting to observe that the notes in the tenor clef, are exactly a fifth higher than if written in the corresponding positions in the bass clef. Some players use this as a kind of help, when playing in the tenor clef, reading the notes as if they were in the bass, but playing them a string higher; thus, a passage commencing on the first line, tenor clef, would be read G but played open D string. These short-cut helps as a rule are not much to be depended upon, and generally are the result of the inventive faculties which seem to be a special gift to the lazy. Each clef should be made to have a separate existence in the mind of the player, or hesitation and confusion are sure to result.

The treble clef

is also much used in its proper pitch in modern 'cello music; the old masters instead of writing in the tenor clef, wrote the high passages in the treble, the notes to be played an octave lower than represented. In playing from early editions, the violoncellist must be on the alert for this, as some of the passages written thus would not sound well even if they could be played in their proper pitch.

The student should thoroughly understand the relation of each clef to the great stave; until he is decided on this simple matter, he will be much troubled with the relative pitch of the tenor clef, treble, etc.

The great stave is composed of two sets of five lines each, with an intermediate line. This intermediate line belongs alike to the treble and the bass clefs, that is to say, it forms the leger line below the treble, and also the leger line above the bass.

Young students generally think that above the bass clef comes the tenor, higher up still the alto, and above all; the treble clef, whereas all four clefs are part of the great stave.

As before stated it is usual to carry the bass clef as far up as A above three leger lines, this is really the treble A, and not an octave lower.

The following passage will show the necessity for this, and also the need of an intermediate clef, between the bass and treble.

Any pianist of ordinary ability would be able to play the above passage at sight, without the slightest difficulty, and according to theory it is correctly written. Now, if written for the violoncellist in one stave, according to the same rules, it would be extremely difficult to read at sight, the abrupt changes of clef being very confusing.

It would be possible to write this passage entirely in the tenor clef, using only three leger lines above.

In certain passages the introduction of the various clefs in rapid succession, materially assists the player to determine the pitch of the intervals, as

It will hardly be interesting to the violoncellist to pursue the subject further, its continuation applying more particularly to composers and music copyists, than to practical musicians.

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