HOW TO HOLD THE INSTRUMENT--THE ATTITUDE OF THE PLAYER--THE USE OF A
SLIDING PIN RECOMMENDED--CORRECT WAY OF HOLDING THE BOW--SOME
INCORRECT SKETCHES OF SAME.
ATTITUDE OF THE PLAYER.
Most pupils are surprised I have no doubt, at the evident discrepancy
seen in the plates usually published with 'cello schools, when compared
with the manner in which our first class artists hold their instruments.
I will endeavour in some measure to explain this away.
The correct way to hold the 'cello if the instrument is not fitted with
a sliding pin is as follows. The player to sit on the front part of
the chair with the feet advanced, the left a little more forward than
the right. The 'cello to be held with the legs, the lower part of the
front edge (table) of the instrument being held in position by the right
calf--the edge of the back being supported by the left calf--the legs of
the player not to cover the ribs of the instrument so that the vibration
is not impeded. The upper part of the back to the right of where the
neck of the instrument is fitted should rest against the chest of the
performer, this will throw the scroll of the instrument a little to the
left of the face. The instrument to be held high enough for the bowing
to clear the knees of the player. The thumb to be placed in a horizontal
position at the back of the neck of the instrument, and should be
between the first and second fingers. The left elbow not to be raised.
This then is the _correct_ manner of holding the 'cello. If the reader
will look at the plate which is published with either the Kummer or the
Seb. Lee instruction book, he will find that the figure there agrees
with the foregoing rules in every particular.
If the student makes use of a sliding-pin these instructions cannot be
observed in every respect, the legs are not required to hold the 'cello,
the left knee alone being brought into use as a slight support--not to
hold the instrument from the ground, but to prevent it from rocking
backwards and forwards.
[Illustration: FIG 1.]
In this matter I would like the student to understand that attitude
does not assist in the production of music, but do not let the reader
imagine that if unnecessary posing does not help, awkward and uncouth
positions of the players do not take away from the effect. Anything
which distracts the attention of the audience from the music should be
rigidly avoided; awkward attitudes, and grotesque motions of the head
and body should therefore be instantly suppressed by the teacher or the
private friends of the student.
Piatti, who does not use a 'cello peg, holds his instrument in a correct
manner, not shuffling about or varying his position. Now if the reader
ever has a chance of hearing Van Biene, let him observe the manner in
which that artist holds his 'cello. We have here the two extremes; as
Piatti is of the strictly correct order, Van Biene is of the exaggerated
artistic order, all the time he is playing constantly striking some
fresh attitude. If Van Biene had again to take to concert work, I
have no doubt that he would calm down a little in this respect, his
exaggerated style while being very effective on the stage, would not
be tolerated on the concert platform. By all means let the student use
a sliding-pin, but let him take advantage of the greater facilities
which are offered, to make his attitude more artistic, always adopting
the happy medium in _this_ matter at least, correctness--without
awkwardness, artistic grace--without unnecessary vain posing. As a
first class elocutionist seeks by attitude to help the effect of his
words, not to distract the attention of his audience, so the attitude
of the 'cellist must be pleasing and easeful. If the student will
compare (Fig. 1) with the plates usually published with 'cello schools,
especially the two previously mentioned, he will see the importance of
the matter.
HOW TO HOLD THE BOW.
[Illustration: FIG. 2.]
[Illustration: FIG. 3.]
There can be no departure from the acknowledged way of holding the
bow if the best results are to be obtained, that is to say, that the
rules must be strictly observed as far as the individual shape of the
hand will allow. It will be observed that the nut of the 'cello bow
is scooped out on the inner side, which forms two projections, one of
these, the lower one, is surrounded with metal through which the hair of
the bow passes, the upper projection fits against the stick. The extreme
tip of the thumb should be placed on this upper projection (Fig. 2) so
that it is also partly on the stick, the thumb being assisted in holding
the bow by the second and third fingers. The second or middle finger is
so placed that the tip touches or overlaps the hair close to the lower
projection; the third finger falls naturally into its place next to the
second finger, and has its tip touching the metal, or silver ferrule
on the lower projection (Fig. 3). These two fingers and thumb are all
that are required to hold the bow, the fourth finger serves to balance
the bow and should be placed lightly on the stick, its chief work being
to prevent the bow dropping too much when playing at the heel, and to
ease the pressure on the strings in very light passages. Last but not
least comes the first finger; this is the member which is responsible
for quality and quantity of tone, it should have a slight bend round
the stick, and so that the other fingers do not interfere, it should be
placed slightly apart, this also helps to bring out a louder tone if
required. The first finger like the fourth is not compelled to remain
stationary, thus in long semiquaver _sautillé_ passages, where the
extended position of the first finger would interfere with the natural
spring of the bow, it should be made to relax its pressure and take a
position nearer the second finger; again in long sustained heavy notes
the first finger may be extended slightly, so that more pressure may
be put on the bow. These last remarks are most important, as the whole
success of the student's bowing rests on the correct use of the first
finger, and the proper position of the thumb. I cannot quit this subject
without mentioning the importance of having the muscles, especially
the tendons on the back of the hand, perfectly easy when the bow is in
position.
To allow this, the knuckles must not protrude in the least, the fingers
also help by being allowed to bend easily at their middle joints, the
upper phalanges having an almost horizontal position over the bow (Fig.
2). The wrist is more rounded when playing near the heel than at the
tip, and also when playing on the lower strings. Without the aid of an
Edison Cinematograph, it would be impossible to demonstrate pictorially
the action of the wrist, fore-arm, and upper arm during the transit
of the bow from heel to tip, and on all the four strings, but if the
preceding instructions are carried out the bow will at least be held
properly. Although my remarks may seem rather drawn out on this subject,
from my own personal experience I may say that could I have had this
knowledge imparted to me a couple of years earlier than was the case,
much unlearning and relearning at more than double the expense would
have been saved. To the student who is in possession of the Seb. Lee
instruction book, I would remark that the position of the thumb as shown
in the plate superscribed "Position de l'archet" (Fig. 2) is decidedly
misleading. It is impossible to have the thick fleshy part of the thumb
near the first joint, grasping the nut as there shown, without having
the fingers stiffly extended, and the knuckles protruding; a position
which I wish the student to guard against.